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you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

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you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

superiority

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

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you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

give

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

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you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

reclining

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

magic

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

mankind

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

gallia

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

sleeping

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

quickly

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

as

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

phantom

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

night--"carter

How many times the word 'night--"carter' appears in the text?

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

kept

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

progress

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you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

push

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

fist

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

afterwards

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

you could find that backway you spoke of blindfold, like this?" Cornelius grunted. "Are you too tired to row?" he asked after a silence. "No, by God!" shouted Brown suddenly. "Out with your oars there." There was a great knocking in the fog, which after a while settled into a regular grind of invisible sweeps against invisible thole-pins. Otherwise nothing was changed, and but for the slight splash of a dipped blade it was like rowing a balloon car in a cloud, said Brown. Thereafter Cornelius did not open his lips except to ask querulously for somebody to bale out his canoe, which was towing behind the long-boat. Gradually the fog whitened and became luminous ahead. To the left Brown saw a darkness as though he had been looking at the back of the departing night. All at once a big bough covered with leaves appeared above his head, and ends of twigs, dripping and still, curved slenderly close alongside. Cornelius, without a word, took the tiller from his hand.' CHAPTER 44 'I don't think they spoke together again. The boat entered a narrow by-channel, where it was pushed by the oar-blades set into crumbling banks, and there was a gloom as if enormous black wings had been outspread above the mist that filled its depth to the summits of the trees. The branches overhead showered big drops through the gloomy fog. At a mutter from Cornelius, Brown ordered his men to load. "I'll give you a chance to get even with them before we're done, you dismal cripples, you," he said to his gang. "Mind you don't throw it away--you hounds." Low growls answered that speech. Cornelius showed much fussy concern for the safety of his canoe. 'Meantime Tamb' Itam had reached the end of his journey. The fog had delayed him a little, but he had paddled steadily, keeping in touch with the south bank. By-and-by daylight came like a glow in a ground glass globe. The shores made on each side of the river a dark smudge, in which one could detect hints of columnar forms and shadows of twisted branches high up. The mist was still thick on the water, but a good watch was being kept, for as Iamb' Itam approached the camp the figures of two men emerged out of the white vapour, and voices spoke to him boisterously. He answered, and presently a canoe lay alongside, and he exchanged news with the paddlers. All was well. The trouble was over. Then the men in the canoe let go their grip on the side of his dug-out and incontinently fell out of sight. He pursued his way till he heard voices coming to him quietly over the water, and saw, under the now lifting, swirling mist, the glow of many little fires burning on a sandy stretch, backed by lofty thin timber and bushes. There again a look-out was kept, for he was challenged. He shouted his name as the two last sweeps of his paddle ran his canoe up on the strand. It was a big camp. Men crouched in many little knots under a subdued murmur of early morning talk. Many thin threads of smoke curled slowly on the white mist. Little shelters, elevated above the ground, had been built for the chiefs. Muskets were stacked in small pyramids, and long spears were stuck singly into the sand near the fires. 'Tamb' Itam, assuming an air of importance, demanded to be led to Dain Waris. He found the friend of his white lord lying on a raised couch made of bamboo, and sheltered by a sort of shed of sticks covered with mats. Dain Waris was awake, and a bright fire was burning before his sleeping-place, which resembled a rude shrine. The only son of nakhoda Doramin answered his greeting kindly. Tamb' Itam began by handing him the ring which vouched for the truth of the messenger's words. Dain Waris, reclining on his elbow, bade him speak and tell all the news. Beginning with the consecrated formula, "The news is good," Tamb' Itam delivered Jim's own words. The white men, deputing with the consent of all the chiefs, were to be allowed to pass down the river. In answer to a question or two Tamb' Itam then reported the proceedings of the last council. Dain Waris listened attentively to the end, toying with the ring which ultimately he slipped on the forefinger of his right hand. After hearing all he had to say he dismissed Tamb' Itam to have food and rest. Orders for the return in the afternoon were given immediately. Afterwards Dain Waris lay down again, open-eyed, while his personal attendants were preparing his food at the fire, by which Tamb' Itam also sat talking to the men who lounged up to hear the latest intelligence from the town. The sun was eating up the mist. A good watch was kept upon the reach of the main stream where the boat of the whites was expected to appear every moment. 'It was then that Brown took his revenge upon the world which, after twenty years of contemptuous and reckless bullying, refused him the tribute of a common robber's success. It was an act of cold-blooded ferocity, and it consoled him on his deathbed like a memory of an indomitable defiance. Stealthily he landed his men on the other side of the island opposite to the Bugis camp, and led them across. After a short but quite silent scuffle, Cornelius, who had tried to slink away at the moment of landing, resigned himself to show the way where the undergrowth was most sparse. Brown held both his skinny hands together behind his back in the grip of one vast fist, and now and then impelled him forward with a fierce push. Cornelius remained as mute as a fish, abject but faithful to his purpose, whose accomplishment loomed before him dimly. At the edge of the patch of forest Brown's men spread themselves out in cover and waited. The camp was plain from end to end before their eyes, and no one looked their way. Nobody even dreamed that the white men could have any knowledge of the narrow channel at the back of the island. When he judged the moment come, Brown yelled, "Let them have it," and fourteen shots rang out like one. 'Tamb' Itam told me the surprise was so great that, except for those who fell dead or wounded, not a soul of them moved for quite an appreciable time after the first discharge. Then a man screamed, and after that scream a great yell of amazement and fear went up from all the throats. A blind panic drove these men in a surging swaying mob to and fro along the shore like a herd of cattle afraid of the water. Some few jumped into the river then, but most of them did so only after the last discharge. Three times Brown's men fired into the ruck, Brown, the only one in view, cursing and yelling, "Aim low! aim low!" 'Tamb' Itam says that, as for him, he understood at the first volley what had happened. Though untouched he fell down and lay as if dead, but with his eyes open. At the sound of the first shots Dain Waris, reclining on the couch, jumped up and ran out upon the open shore, just in time to receive a bullet in his forehead at the second discharge. Tamb' Itam saw him fling his arms wide open before he fell. Then, he says, a great fear came upon him--not before. The white men retired as they had come--unseen. 'Thus Brown balanced his account with the evil fortune. Notice that even in this awful outbreak there is a superiority as of a man who carries right--the abstract thing--within the envelope of his common desires. It was not a vulgar and treacherous massacre; it was a lesson, a retribution--a demonstration of some obscure and awful attribute of our nature which, I am afraid, is not so very far under the surface as we like to think. 'Afterwards the whites depart unseen by Tamb' Itam, and seem to vanish from before men's eyes altogether; and the schooner, too, vanishes after the manner of stolen goods. But a story is told of a white long-boat picked up a month later in the Indian Ocean by a cargo steamer. Two parched, yellow, glassy-eyed, whispering skeletons in her recognised the authority of a third, who declared that his name was Brown. His schooner, he reported, bound south with a cargo of Java sugar, had sprung a bad leak and sank under his feet. He and his companions were the survivors of a crew of six. The two died on board the steamer which rescued them. Brown lived to be seen by me, and I can testify that he had played his part to the last. 'It seems, however, that in going away they had neglected to cast off Cornelius's canoe. Cornelius himself Brown had let go at the beginning of the shooting, with a kick for a parting benediction. Tamb' Itam, after arising from amongst the dead, saw the Nazarene running up and down the shore amongst the corpses and the expiring fires. He uttered little cries. Suddenly he rushed to the water, and made frantic efforts to get one of the Bugis boats into the water. "Afterwards, till he had seen me," related Tamb' Itam, "he stood looking at the heavy canoe and scratching his head." "What became of him?" I asked. Tamb' Itam, staring hard at me, made an expressive gesture with his right arm. "Twice I struck, Tuan," he said. "When he beheld me approaching he cast himself violently on the ground and made a great outcry, kicking. He screeched like a frightened hen till he felt the point; then he was still, and lay staring at me while his life went out of his eyes." 'This done, Tamb' Itam did not tarry. He understood the importance of being the first with the awful news at the fort. There were, of course, many survivors of Dain Waris's party; but in the extremity of panic some had swum across the river, others had bolted into the bush. The fact is that they did not know really who struck that blow--whether more white robbers were not coming, whether they had not already got hold of the whole land. They imagined themselves to be the victims of a vast treachery, and utterly doomed to destruction. It is said that some small parties did not come in till three days afterwards. However, a few tried to make their way back to Patusan at once, and one of the canoes that were patrolling the river that morning was in sight of the camp at the very moment of the attack. It is true that at first the men in her leaped overboard and swam to the opposite bank, but afterwards they returned to their boat and started fearfully up-stream. Of these Tamb' Itam had an hour's advance.' CHAPTER 45 'When Tamb' Itam, paddling madly, came into the town-reach, the women, thronging the platforms before the houses, were looking out for the return of Dain Waris's little fleet of boats. The town had a festive air; here and there men, still with spears or guns in their hands, could be seen moving or standing on the shore in groups. Chinamen's shops had been opened early; but the market-place was empty, and a sentry, still posted at the corner of the fort, made out Tamb' Itam, and shouted to those within. The gate was wide open. Tamb' Itam jumped ashore and ran in headlong. The first person he met was the girl coming down from the house. 'Tamb' Itam, disordered, panting, with trembling lips and wild eyes, stood for a time before her as if a sudden spell had been laid on him. Then he broke out very quickly: "They have killed Dain Waris and many more." She clapped her hands, and her first words were, "Shut the gates." Most of the fortmen had gone back to their houses, but Tamb' Itam hurried on the few who remained for their turn of duty within. The girl stood in the middle of the courtyard while the others ran about. "Doramin," she cried despairingly, as Tamb' Itam passed her. Next time he went by he answered her thought rapidly, "Yes. But we have all the powder in Patusan." She caught him by the arm, and, pointing at the house, "Call him out," she whispered, trembling. 'Tamb' Itam ran up the steps. His master was sleeping. "It is I, Tamb' Itam," he cried at the door, "with tidings that cannot wait." He saw Jim turn over on the pillow and open his eyes, and he burst out at once. "This, Tuan, is a day of evil, an accursed day." His master raised himself on his elbow to listen--just as Dain Waris had done. And then Tamb' Itam began his tale, trying to relate the story in order, calling Dain Waris Panglima, and saying: "The Panglima then called out to the chief of his own boatmen, 'Give Tamb' Itam something to eat'"--when his master put his feet to the ground and looked at him with such a discomposed face that the words remained in his throat. '"Speak out," said Jim. "Is he dead?" "May you live long," cried Tamb' Itam. "It was a most cruel treachery. He ran out at the first shots and fell." . . . His master walked to the window and with his fist struck at the shutter. The room was made light; and then in a steady voice, but speaking fast, he began to give him orders to assemble a fleet of boats for immediate pursuit, go to this man, to the other--send messengers; and as he talked he sat down on the bed, stooping to lace his boots hurriedly, and suddenly looked up. "Why do you stand here?" he asked very red-faced. "Waste no time." Tamb' Itam did not move. "Forgive me, Tuan, but . . . but," he began to stammer. "What?" cried his master aloud, looking terrible, leaning forward with his hands gripping the edge of the bed. "It is not safe for thy servant to go out amongst the people," said Tamb' Itam, after hesitating a moment. 'Then Jim understood. He had retreated from one world, for a small matter of an impulsive jump, and now the other, the work of his own hands, had fallen in ruins upon his head. It was not safe for his servant to go out amongst his own people! I believe that in that very moment he had decided to defy the disaster in the only way it occurred to him such a disaster could be defied; but all I know is that, without a word, he came out of his room and sat before the long table, at the head of which he was accustomed to regulate the affairs of his world, proclaiming daily the truth that surely lived in his heart. The dark powers should not rob him twice of his peace. He sat like a stone figure. Tamb' Itam, deferential, hinted at preparations for defence. The girl he loved came in and spoke to him, but he made a sign with his hand, and she was awed by the dumb appeal for silence in it. She went out on the verandah and sat on the threshold, as if to guard him with her body from dangers outside. 'What thoughts passed through his head--what memories? Who can tell? Everything was gone, and he who had been once unfaithful to his trust had lost again all men's confidence. It was then, I believe, he tried to write--to somebody--and gave it up. Loneliness was closing on him. People had trusted him with their lives--only for that; and yet they could never, as he had said, never be made to understand him. Those without did not hear him make a sound. Later, towards the evening, he came to the door and called for Tamb' Itam. "Well?" he asked. "There is much weeping. Much anger too," said Tamb' Itam. Jim looked up at him. "You know," he murmured. "Yes, Tuan," said Tamb' Itam. "Thy servant does know, and the gates are closed. We shall have to fight." "Fight! What for?" he asked. "For our lives." "I have no life," he said. Tamb' Itam heard a cry from the girl at the door. "Who knows?" said Tamb' Itam. "By audacity and cunning we may even escape. There is much fear in men's hearts too." He went out, thinking vaguely of boats and of open sea, leaving Jim and the girl together. 'I haven't the heart to set down here such glimpses as she had given me of the hour or more she passed in there wrestling with him for the possession of her happiness. Whether he had any hope--what he expected, what he imagined--it is impossible to say. He was inflexible, and with the growing loneliness of his obstinacy his spirit seemed to rise above the ruins of his existence. She cried "Fight!" into his ear. She could not understand. There was nothing to fight for. He was going to prove his power in another way and conquer the fatal destiny itself. He came out into the courtyard, and behind him, with streaming hair, wild of face, breathless, she staggered out and leaned on the side of the doorway. "Open the gates," he ordered. Afterwards, turning to those of his men who were inside, he gave them leave to depart to their homes. "For how long, Tuan?" asked one of them timidly. "For all life," he said, in a sombre tone. 'A hush had fallen upon the town after the outburst of wailing and lamentation that had swept over the river, like a gust of wind from the opened abode of sorrow. But rumours flew in whispers, filling the hearts with consternation and horrible doubts. The robbers were coming back, bringing many others with them, in a great ship, and there would be no refuge in the land for any one. A sense of utter insecurity as during an earthquake pervaded the minds of men, who whispered their suspicions, looking at each other as if in the presence of some awful portent. 'The sun was sinking towards the forests when Dain Waris's body was brought into Doramin's campong. Four men carried it in, covered decently with a white sheet which the old mother had sent out down to the gate to meet her son on his return. They laid him at Doramin's feet, and the old man sat still for a long time, one hand on each knee, looking down. The fronds of palms swayed gently, and the foliage of fruit trees stirred above his head. Every single man of his people was there, fully armed, when the old nakhoda at last raised his eyes. He moved them slowly over the crowd, as if seeking for a missing face. Again his chin sank on his breast. The whispers of many men mingled with the slight rustling of the leaves. 'The Malay who had brought Tamb' Itam and the girl to Samarang was there too. "Not so angry as many," he said to me, but struck with a great awe and wonder at the "suddenness of men's fate, which hangs over their heads like a cloud charged with thunder." He told me that when Dain Waris's body was uncovered at a sign of Doramin's, he whom they often called the white lord's friend was disclosed lying unchanged with his eyelids a little open as if about to wake. Doramin leaned forward a little more, like one looking for something fallen on the ground. His eyes searched the body from its feet to its head, for the wound maybe. It was in the forehead and small; and there was no word spoken while one of the by-standers, stooping, took off the silver ring from the cold stiff hand. In silence he held it up before Doramin. A murmur of dismay and horror ran through the crowd at the sight of that familiar token. The old nakhoda stared at it, and suddenly let out one great fierce cry, deep from the chest, a roar of pain and fury, as mighty as the bellow of a wounded bull, bringing great fear into men's hearts, by the magnitude of his anger and his sorrow that could be plainly discerned without words. There was a great stillness afterwards for a space, while the body was being borne aside by four men. They laid it down under a tree, and on the instant, with one long shriek, all the women of the household began to wail together; they mourned with shrill cries; the sun was setting, and in the intervals of screamed lamentations the high sing-song voices of two old men intoning the Koran chanted alone. 'About this time Jim, leaning on a gun-carriage, looked at the river, and turned his back on the house; and the girl, in the doorway, panting as if she had run herself to a standstill, was looking at him across the yard. Tamb' Itam stood not far from his master, waiting patiently for what might happen. All at once Jim, who seemed to be lost in quiet thought, turned to him and said, "Time to finish this." '"Tuan?" said Tamb' Itam, advancing with alacrity. He did not know what his master meant, but as soon as Jim made a movement the girl started too and walked down into the open space. It seems that no one else of the people of the house was in sight. She tottered slightly, and about half-way down called out to Jim, who had apparently resumed his peaceful contemplation of the river. He turned round, setting his back against the gun. "Will you fight?" she cried. "There is nothing to fight for," he said; "nothing is lost." Saying this he made a step towards her. "Will you fly?" she cried again. "There is no escape," he said, stopping short, and she stood still also, silent, devouring him with her eyes. "And you shall go?" she said slowly. He bent his head. "Ah!" she exclaimed, peering at him as it were, "you are mad or false. Do you remember the night I prayed you to leave me, and you said that you could not? That it was impossible! Impossible! Do you remember you said you would never leave me? Why? I asked you for no promise. You promised unasked--remember." "Enough, poor girl," he said. "I should not be worth having." 'Tamb' Itam said that while they were talking she would laugh loud and senselessly like one under the visitation of God. His master put his hands to his head. He was fully dressed as for every day, but without a hat. She stopped laughing suddenly. "For the last time," she cried menacingly, "will you defend yourself?" "Nothing can touch me," he said in a last flicker of superb egoism. Tamb' Itam saw her lean forward where she stood, open her arms, and run at him swiftly. She flung herself upon his breast and clasped him round the neck. '"Ah! but I shall hold thee thus," she cried. . . . "Thou art mine!" 'She sobbed on his shoulder. The sky over Patusan was blood-red, immense, streaming like an open vein. An enormous sun nestled crimson amongst the tree-tops, and the forest below had a black and forbidding face. 'Tamb' Itam tells me that on that evening the aspect of the heavens was angry and frightful. I may well believe it, for I know that on that very day a cyclone passed within sixty miles of the coast, though there was hardly more than a languid stir of air in the place. 'Suddenly Tamb' Itam saw Jim catch her arms, trying to unclasp her hands. She hung on them with her head fallen back; her hair touched the ground. "Come here!" his master called, and Tamb' Itam helped to ease her down. It was difficult to separate her fingers. Jim, bending over her, looked earnestly upon her face, and all at once ran to the landing-stage. Tamb' Itam followed him, but turning his head, he saw that she had struggled up to her feet. She ran after them a few steps, then fell down heavily on her knees. "Tuan! Tuan!" called Tamb' Itam, "look back;" but Jim was already in a canoe, standing up paddle in hand. He did not look back. Tamb' Itam had just time to scramble in after him when the canoe floated clear. The girl was then on her knees, with clasped hands, at the water-gate. She remained thus for a time in a supplicating attitude before she sprang up. "You are false!" she screamed out after Jim. "Forgive me," he cried. "Never! Never!" she called back. 'Tamb' Itam took the paddle from Jim's hands, it being unseemly that he should sit while his lord paddled. When they reached the other shore his master forbade him to come any farther; but Tamb' Itam did follow him at a distance, walking up the slope to Doramin's campong. 'It was beginning to grow dark. Torches twinkled here and there. Those they met seemed awestruck, and stood aside hastily to let Jim pass. The wailing of women came from above. The courtyard was full of armed Bugis with their followers, and of Patusan people. 'I do not know what this gathering really meant. Were these preparations for war, or for vengeance, or to repulse a threatened invasion? Many days elapsed before the people had ceased to look out, quaking, for the return of the white men with long beards and in rags, whose exact relation to their own white man they could never understand. Even for those simple minds poor Jim remains under a cloud. 'Doramin, alone! immense and desolate, sat in his arm-chair with the pair of flintlock pistols on his knees, faced by a armed throng. When Jim appeared, at somebody's exclamation, all the heads turned round together, and then the mass opened right and left, and he walked up a lane of averted glances. Whispers followed him; murmurs: "He has worked all the evil." "He hath a charm." . . . He heard them--perhaps! 'When he came up into the light of torches the wailing of the women ceased suddenly. Doramin did not lift his head, and Jim stood silent before him for a time. Then he looked to the left, and moved in that direction with measured steps. Dain Waris's mother crouched at the head of the body, and the grey dishevelled hair concealed her face. Jim came up slowly, looked at his dead friend, lifting the sheet, than dropped it without a word. Slowly he walked back. '"He came! He came!" was running from lip to lip, making a murmur to which he moved. "He hath taken it upon his own head," a voice said aloud. He heard this and turned to the crowd. "Yes. Upon my head." A few people recoiled. Jim waited awhile before Doramin, and then said gently, "I am come in sorrow." He waited again. "I am come ready and unarmed," he repeated. 'The unwieldy old man, lowering his big forehead like an ox under a yoke, made an effort to rise, clutching at the flintlock pistols on his knees. From his throat came gurgling, choking, inhuman sounds, and his two attendants helped him from behind. People remarked that the ring which he had dropped on his lap fell and rolled against the foot of the white man, and that poor Jim glanced down at the talisman that had opened for him the door of fame, love, and success within the wall of forests fringed with white foam, within the coast that under the western sun looks like the very stronghold of the night. Doramin, struggling to keep his feet, made with his two supporters a swaying, tottering group; his little eyes stared with an expression of mad pain, of rage, with a ferocious glitter, which the bystanders noticed; and then, while Jim stood stiffened and with bared head in the light of torches, looking him straight in the face, he clung heavily with his left arm round the neck of a bowed youth, and lifting deliberately his right, shot his son's friend through the chest. 'The crowd, which had fallen apart behind Jim as soon as Doramin had raised his hand, rushed tumultuously forward after the shot. They say that the white man sent right and left at all those faces a proud and unflinching glance. Then with his hand over his lips he fell forward, dead. 'And that's the end. He passes away under a cloud, inscrutable at heart, forgotten, unforgiven, and excessively romantic. Not in the wildest days of his boyish visions could he have seen the alluring shape of such an extraordinary success! For it may very well be that in the short moment of his last proud and unflinching glance, he had beheld the face of that opportunity which, like an Eastern bride, had come veiled to his side. 'But we can see him, an obscure conqueror of fame, tearing himself out of the arms of a jealous love at the sign, at the call of his exalted egoism. He goes away from a living woman to celebrate his pitiless wedding with a shadowy ideal of conduct. Is he satisfied--quite, now, I wonder? We ought to know. He is one of us--and have I not stood up once, like an evoked ghost, to answer for his eternal constancy? Was I so very wrong after all? Now he is no more, there are days when the reality of his existence comes to me with an immense, with an overwhelming force; and yet upon my honour

asked

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

countries

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

cos

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

upstairs

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

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you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

uncertain

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

mad

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

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you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

touched

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

benevolent

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

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you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

community

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

uncomfortable

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

shit

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

explain

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

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you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

coat

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

everything

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

jewish

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

you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance

vivaldi

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

needles

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

merchandise

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

living

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

afterward

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

weapons

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

seventh

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

grounds

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

communiqu

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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

you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you fellas for a while. INT. UNDERGROUND HEADQUARTERS - HALLWAY - MORNING We see the FEET of AGENT POLK sprinting down the hallway. INT. ULTIMATE INFORMATION ROOM - MORNING Agent Polk looks around, spots Gibbons. He rushes to him, waving a COMMUNIQU . Gibbons grabs the communiqu , reads it. He looks up, stunned. INT. DIRTY APARTMENT - DAY Xander is having coffee at his window when his communicator RINGS. XANDER (into phone) I guess you got my E-mail. I set up a purchase. Ten cars. INTERCUT WITH GIBBONS IN INFORMATION ROOM GIBBONS If you're trying to push my buttons, you're on the right track. Don't make me question my own judgment, X. XANDER Buddy, you sent me here to get close to their organization, that costs money. GIBBONS One point two million dollars? I did not authorize you to spend one point two million dollars! XANDER I'm already on a first name basis with these dudes, I got a deal set up, you want me to hammer it or not? GIBBONS We're not after car thieves here. XANDER What the hell am I after? You're telling me dick. GIBBONS That information is classified. You're there to gather information on their operations, period. XANDER Call me crazy, but I thought hooking up a million dollar deal was a great way to get on their good side. What else? You gonna hassle me about the weapons and spy stuff too? GIBBONS My friend, if you're planning on crossing me... XANDER I know, poison needles in my shins. You've got 36 hours. Peace, out. Xander hangs up. INT. SAM TANNICK'S OFFICE - DAY Gibbons stands before Sam's desk. Sam scans over the communiqu . SAM TANNICK Ridiculous. Cut him off. I'm sorry Gibbons, you pulled up a shark this time. GIBBONS I think we should send him whatever he wants. SAM TANNICK You what? A wire transfer of this size? GIBBONS If it means getting Silent Night back, absolutely. SAM TANNICK You're talking about a very expensive risk here. GIBBONS He's gotten closer in 24 hours than all of the other operatives combined. He got us an account number to boot. Now even if he's just dumb and lucky, I say we back his play. (beat) I put him out there, Sam. If he doesn't come up with the money, they'll kill him. I can't let that happen. SAM TANNICK Why not? You were going to throw him in a tub full of acid, weren't you? Gibbons smiles. SAM TANNICK Alright, do what you want. But keep the screws on him. He's a wild card. That could be either good or bad. GIBBONS So the odds are up to fifty-fifty? I can deal with that. CUT TO: EXT. CZECH POLICE BUILDING - ROOFTOP - DAY A HELICOPTER comes flying in, a MAN standing out on the strut. He's a disgruntled GADGET WRANGLER from the NSA. His name is TOBY LEE SHAVERS. Slovo and Xander watch from a distance as a series of METAL CASES is unloaded by CZECH COPS. Slovo lets out a low whistle. SLOVO Your government must know something we don't. Shavers walks up to them. SHAVERS Hate those Russkie choppers. Rattle- trap pieces of garbage. I'm agent Shavers. Toby Lee Shavers. I'm looking for what's his name. Three X' s. XANDER That's would be me. Shavers gives him a disapproving look. SHAVERS Figures. You got someplace we can spread out my gear or what? I mean today. Slovo gestures towards the stairs and Shavers marches off, muttering to himself. SLOVO I'll leave you two alone to talk. XANDER Yeah, thanks a lot. INT. CZECH POLICE BUILDING - BASEMENT TRAINING AREA - DAY Down in the basement there is a SHOOTING RANGE along one wall. A squad of CZECH COPS is BLASTING AWAY. They become distracted by the noise in the middle of the room. One of the metal boxes has been dropped by a Cop. The rest are spread out in front of Xander, Slovo and Shavers. SHAVERS Back off, just go away you klutz. Alright, here's the story. The items in these cases belong to me. I designed them, built them, and was going to use them in the field myself until you showed up. XANDER I stole your beat, huh? Guess you forgot to brown-nose the right people. SHAVERS Is that supposed to be funny? I'm not laughing. I've worked for ten years to get my shot at being a field agent, funny boy. And ar the last minute I get bumped by you, some reject from the Ozzfest. XANDER Why don't you show me some gear before you get hurt. SHAVERS Listen to you. Right away, sir, anything you say, sir. Shavers pops open the first metal case. Inside are various GADGETS laid into the molded carbon fiber lining. XANDER What is all this? I didn't even order some of this stuff. Shavers holds up a small METAL BALL. SHAVERS You're gonna need it, rookie, trust me. The metal ball unrolls into a six legged ROBOT INSECT. SHAVERS An all-terrain mobile video monitoring system for surveillance. I call it the "Roach Cam". See the little camera it's got for a head? Xander picks it up. XANDER Kinda looks like you. Shavers snatches it back. He puts on a METAL GLOVE, it's fingers are SHARP TALONS. SHAVERS "Terminator" climbing claws. He CLAMPS the claw onto the metal case. It holds fast. SHAVERS Miniature power cams set in on contact, giving you a sure grip on any surface. XANDER They come in any other styles or colors? He tosses the glove aside, pulls out a DART GUN. SHAVERS This is your standard dart gun. XANDER That one I'm real familiar with. Shavers displays a case of DARTS. SHAVERS You've got your chromium knock-out dart, microphone listening dart, explosive dart, even one with a splatter blood packet, whatever you need. They also come in a special 9mm casing for use with your service pistol. Xander pulls out some SUPER BINOCULARS. SHAVERS Multi-view binoculars. Nine different enhanced vision modes, plus a digital camera. Xander looks through them, starts cycling through the different modes. BINOCULAR P.O.V. - we see the various modes as Xander scans the grounds. SHAVERS Infrared, starlight... Even a special "penetrator" mode to see through walls, curtains, almost anything... Xander aims at the shooting range. BINOCULAR P.O.V. - we see through the clothes of the FEMALE COPS on the shooting range. (PG-13 style, of course). We can even see the INNER WORKINGS of their GUNS. One of the Female Cops turns and gives Xander an approving look. XANDER I think I'll hang on to these. SHAVERS Think again, that's government property. You have to sign for everything. I've got one more that wasn't on your list. Shavers pulls out a JUMPSUIT. XANDER From the Beastie Boys collection? SHAVERS It's a stakeout suit. It's got food, water, recording gear, anything you need for covert spying. It's all- weather, fire retardant, and if you give this buckle a sharp pull, the whole outfit deploys into a parachute. XANDER You're joking, right? Shavers just gives him a deadpan look. SHAVERS Now that I've given you the overview, we're going to spend the next couple hours going into extensive operational detail. XANDER I thought that was in detail. As Shavers drones on, Xander hangs his head. EXT. WAREHOUSE DISTRICT - DAY The TEN BLACK MARKET EUROPEAN SPORTS CARS are loaded on two TRANSPORT TRUCKS. Mafiya BODYGUARDS keep watch. The Ivans (in Teamster garb) inspect the cars while Xander supervises. Anders hovers around him. ANDERS So what you think? Beautiful! Sitting in an OFFICE watching are Yorgi, Kirill and Petra. Petra has a LAPTOP. YORGI Has it arrived yet? Petra checks her computer. ON SCREEN she's monitoring their BANK ACCOUNT. PETRA Nothing. He had two days. YORGI Perhaps he is not all he says he is. Outside the Ivans nod approval and Xander heads to the office. Yorgi looks to kirill, who puts his hand on his PISTOL. Xander opens the door. XANDER Very nice. I'm impressed. YORGI I'm somewhat less so. We seem to have a bit of a problem... Just then Petra's computer BEEPS and the MONEY floods into their account. Xander holds up a CELL PHONE and smiles. XANDER I had to inspect the merchandise first. YORGI Of course. He nods for Kirill to stand down. OUTSIDE - the two transport trucks are driven off by the Ivans. As they pull out they reveal ANOTHER CAR under a COVER. XANDER What's this? YORGI This is a gift. From me to you. Anders pulls off the cover, revealing a cherry '72 PONTIAC GTO. YORGI It's a little nothing, you take it. Xander checks out his new ride. Yorgi gets in the passenger seat. YORGI Come on, get in. Xander sits behind the wheel and STARTS IT UP. The big engine ROARS. XANDER You're alright, Yorgi. Next door to the warehouse sits an ABANDONED BUILDING. Up on the sloped roof, Slovo spies down on the transaction. He's got a camera with a big zoom lens. SLOVO Smile, bychara. Slovo snaps a few pictures but his view is obscured. To get a better vantage, he JUMPS DOWN onto a lower part of the roof. CRUNCH! His foot BREAKS THROUGH THE SHABBY ROOF TILE. Down below, Kirill hears the noise. KIRILL Yorgi! They all look to the abandoned building. Through the second floor window they can see Slovo's leg poking through the ceiling. Xander is taken aback. YORGI What in the hell...? Yorgi turns to Xander, goes for his pistol. Thinking fast, Xander does the same. They draw simultaneously and hold the guns to each other's heads as they sit in the car. Petra, Kirill and Anders draw as well, all of them covering Xander. YORGI What's going on, my friend? XANDER You tell me! You got a sniper up there or what? YORGI He's not with us, Xander. He must be with you. XANDER (he cocks the hammer) Bullshit! You get your boy off that roof or I swear to God I'm gonna give you another hole to breathe out of. Yorgi stares, finally believes him. He lowers his gun. YORGI Get him! Find out who he is! By now Slovo is down the fire escape. He hits the ground and goes running down the street. The Anarchy 99 crew heads for their cars. Xander SPINS the cylinder on his REVOLVER. XANDER I've got him. Buckle up. The GTO peels out. EXT. STREET - DAY Slovo is huffing and puffing as fast as he can when Xander comes skidding around the corner. He looks back and sees the speeding GTO. YORGI That's the cop from the club! Xander does the only thing he can. He puts the car sideways and aims out the window as he slides to a stop. Slovo turns and BLAM! Xander SHOOTS Slovo right in the chest. IN SLO-MO: a spray of BLOOD erupts from his chest and Slovo falls backwards, his face frozen in a look of shock and betrayal. The smoking shell clatters to the ground. Slovo blinks up at Xander, gasping for words, then lays still. Xander hops out, rifles through Slovo's pockets. The other Anarchy 99 cars pull up, the whole group looking on. YORGI What are you doing? Get in the car! Xander heads back to the GTO and the cars peel out. INT. GTO - MOVING - DAY The rest of Anarchy 99 follows behind the GTO. YORGI I don't believe it! You can't shoot a cop in the middle of the street! XANDER (grim) Had to do what I had to do. He pulls out the roll of FILM. Yorgi laughs. YORGI You say you get a million, you get the million. Some cop gives us shit, he's dead. Jesus Christ, man, you're hard-core! EXT. DEAD END STREET - DAY The Ivans pull up in their transport trucks. They see all the blood and rush towards Slovo. But something doesn't look right. Ivan 1 TASTES the blood and spits it out. IVAN 1 It's sweet. Ivan 2 pulls a CHROME DART from Slovo's chest. Slovo GROANS. INT. NIGHTCLUB - NIGHT It's a crowded basement rave club. Hot and sweaty RAVERS dance in provocative outfits. The Anarchy 99 group is standing on the best booth, right on the packed dance floor. Surrounding them are a handful of MAFIYA BODYGUARDS who stand at attention like the Secret Service. Anders swings from a water pipe and then drops onto the table, smashing glass. A DRUNK GUY tries to pull Petra onto the dance floor and she PUNCHES him. The Bodyguards drag the dude out for a proper thrashing. Yorgi shatters a BOTTLE against the wall. YORGI Total chaos, man! Welcome to Anarchy 99! XANDER What's "Anarchy 99"? YORGI It's all this craziness! It's what we've been living since 99, when we left the Army. One of our brothers died in Grozny and we said the hell with this shit. What for? He dies for what? Politics? Who's politics? Not ours. XANDER You wanna see my politics? Xander shows him a TATTOO on his arm. It shows PLANET EARTH with a giant SCREW through it. XANDER Screw the world. If I'm gonna die for something, it better be bitches and money. YORGI That's what I'm talking about, man! That's why Anarchy 99 was born. Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a circled "A" with "99" underneath). YORGI To us it means no walls, no speed limits, no jails. It's everybody does what he wants. People think democracy is freedom but they don't have a clue. There's an old punk song. It says: "America stands for freedom, but if you think you're free..." XANDER "...try walking into a deli and urinating on the cheese". 'Anarchy Burger' by the Vandals. YORGI You got it, man. It's stupid but it's true. True freedom is when you do whatever you want anytime you want. That's when you know you're living, man. XANDER How you gonna do that with government and rules everywhere? YORGI Easy. You get enough money that you grow an ass big enough for the whole world to kiss. Yorgi throws a fistful of money onto the dance floor. The Xed out ravers swat it around like confetti. YORGI You hang with us, buddy, taste some freedom! Petra! Dance with this guy! Yorgi melts into the dance floor crowd, leaving Xander alone with Petra. She gets up grumpily and starts dancing. Xander joins her, but she won't even look at him. XANDER This is great, dancing with the back of your head. She reluctantly turns around. XANDER If you got a problem with me, why are we dancing? PETRA Yorgi asked me to. XANDER You do everything Yorgi says? PETRA Go to hell. XANDER It's gonna be like that, huh? You got all bent out of shape as soon as he started dancing with someone else. Why's that? PETRA Mind your business. XANDER Did you guys used to date? That's it, right? He broke your heart and you're still soft on him. That's funny, it don't seem to fit with a tough broad like you. She glares at him and walks away. Xander follows. XANDER Where are you going? PETRA Why are you still hanging around? Your business is finished, you should go home. XANDER I was invited. What's your story? PETRA I don't know who you are or where you come from, but I don't like you. You ask too many questions. There's a big line outside the "ladies" and no line at the "men's". Petra heads into the Men's Room. Some DUDE whistles at her. She pushes him out of the way and enters a stall. Xander leans on the sink. XANDER Come on, don't front like that. You'll put a guy right off you. PETRA Don't even bother, X man, I'm not your type. XANDER That right? Why's that? The stall door flies open and Petra marches out. PETRA My chest is too small and my brain is too big. She shoves him to the door and stomps back to her stall. Xander walks back out, shaking his head and laughing. Across the room, Viktor shoves the D.J. out of the way and puts on "ANARCHY BURGER" by the Vandals. The rave dance is interrupted by the pounding punk beat. YORGI Xander, check it out! The revolution begins! Viktor and Anders swiftly turn the dance floor into a violent mosh pit. Xander can't help it, he actually likes these guys. YORGI Let's get some air, man. Yorgi and Xander head outside. A moment later, Kirill hurries out another door. EXT. PRAGUE RIVERFRONT - NIGHT It's late. Yorgi and Xander stroll along the river. XANDER You got a great set-up here Yorgi. You really know how to live. YORGI It's a beautiful town, Prague. It's been good to me. XANDER I've been here before, when I was a kid. My old man was in the service, we used to live on the Army base in Hamburg. YORGI You, an Army brat? I don't see that one at all. Did you join the service as well? XANDER Hell no. My dad was a straight up tin soldier. Somehow he pissed this general off and got himself dishonorably discharged. Had a court martial and everything. The charges were total bullshit, so he was sure he'd get his name cleared, but it didn't happen. YORGI Connections and politics, it's the same everywhere. XANDER My old man, he bought into the system, and it screwed him. So he swallowed a bullet. Me, I don't believe in nothing I can't see and touch. The camera suddenly ZOOMS across the city, flying over streets and houses until, half a mile away, it finds Kirill in a window with his SNIPER RIFLE. P.O.V. THROUGH SCOPE - Xander's head is in the crosshairs. The scope pans over to Yorgi, who looks INTO CAMERA and gives a small signal, calling off the hit. BACK ON YORGI AND XANDER Yorgi looks up at a "PRAGUE PEACE CONFERENCE" banner. YORGI Next week these idiots are having a peace conference here. What the hell are they going to talk about? It's the system itself that causes all the world's problems. You're okay, buddy. Come on, it's getting early. They stroll off and Kirill stands down. EXT. PRAGUE STREETS - SUNRISE A flotilla of VEHICLES (Xander's GTO among them) drives through the gate in a massive, stone wall. It's a big manor house in the middle of town. INT. MEDIEVAL MANOR - COURTYARD - PRAGUE - SUNRISE The GTO, sedans, SUV's park in the courtyard. Xander sees a row of MOTORCYCLES parked here as well. Xander also sees a Guard hit a switch that LOWERS the HEAVY WOODEN GATE. Yorgi corrals a bunch of STRIPPERS he's brought home. YORGI This way, girls, let's go! He leads the whole troop inside. INT. MEDIEVAL MANOR - HALLWAY - SUNRISE As they go down the hall/Xander sees ROOMS FULL OF OFFICE WORKERS and MAFIYA GOONS. VIKTOR Diversified global operations. The sun never sets on our empire. Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS. For all their screwing around, it's clear Anarchy 99 runs a large operation. INT. MEDIEVAL MANOR - MAIN HALL - SUNRISE With leaded glass windows overlooking the river, this place is beautiful. Inside it's done up more like the house from MTV's "Real World", except trashed. There's cool fish tanks, a pool table, PS2 on a flatscreen and spray paint and holes all over the walls. SERVANTS welcome them with food and Yorgi's SECRETARY gives him important messages. YORGI (sorting through messages) Not bad, yes? The original owners, they just one day decide to move out. Anders starts pounding on a drumset. Petra kicks a soccer ball at him. PETRA Yeb vas, z'opa. Shut up! Yorgi paws at a Stripper. YORGI I've got meetings this afternoon, I've got to get some sleep. Just pick a girl. XANDER That's alright, I'm kinda tired. YORGI You want to insult me? This is my hospitality. Pick one. Xander points at one of the Strippers. She's wearing a fashionable FLAK JACKET. YORGI Good, now find a room to crash in. Petra, show him. The surly Petra opens a door, revealing a hall of doors. Xander and Flak Jacket follow. XANDER You gonna tuck us in? She just gives him a nasty look, walks into her room and slams the door. Xander scratches his head and picks a room. The others shuffle off to their beds with their Strippers. INT. MEDIEVAL MANOR - XANDER'S ROOM - SUNRISE Flak Jacket is out of sight in the bathroom. Xander talks to her while he gets undressed. XANDER Listen, no offense, but I'm not in the market right now, okay? You can stay here, but let's not -- He trails off as she steps out of the bathroom. She's wearing just a G-string and the flak jacket. XANDER You don't understand a word I'm saying, do you? She just smiles at him sweetly and pulls his shirt off. She looks at the ENGAGEMENT RING still pierced through his nipple and gives a puzzled look. XANDER Stupid, right? That's what I was trying to tell you. I just got out of this heavy thing... She kisses him and lets the flak jacket fall (PG-13 style). XANDER The things I have to do for my country. He gives in and starts making out with her. DISSOLVE TO: INT. MEDIEVAL MANOR - HALLWAY - LATER THAT MORNING Xander sneaks out of his room and down the hail. Behind him, we can see Flak Jacket asleep amongst the tussled sheets. INT. MEDIEVAL MANOR - MAIN HALL - MORNING Anders is snoring on the floor. Xander skirrs around him and goes through another door. INT. MEDIEVAL MANOR - OFFICE - DAY Xander finds an office and starts going through the desk. He finds a PALM PILOT and snaps a RECORDING DEVICE to the bottom. In seconds he's copied everything on it. He moves on to some drawers. PETRA What are you doing? He turns, sees Petra standing in the doorway with a GUN. XANDER Looking for a phone book. I want to call a cab. Unless you wanna give me a ride? She shuts the door, advances, staring him down. PETRA Who are you? XANDER We hung out last night, remember? PETRA I also remember you drove your car here. Who are you really? Make no mistake, I will shoot you and not feel bad about it. Who are you working for? XANDER Hey, take it easy. I'm just a dude trying to make a buck. She SLAPS him, hard. PETRA Bullshit. I see you look at everything, study everything, ask questions. I know exactly what you're doing. Empty your pockets. XANDER You've got to relax, baby, you're paranoid. She SLAPS him again and Xander goes for her gun. Before he can pry it from her hand, she's pulled another gun from nowhere and has it jammed against his neck. He lets go. XANDER Hey, you're good. PETRA Maybe we should start again, yes? I know so little about you, except that you're not what you say you are. XANDER That makes two of us then, sweetheart, because I ain't buying your bullshit either. You're not like them, I can see it in your eyes. So you tell me, who's bullshitting who? INT. YORGI'S BEDROOM - DAY There are THREE STRIPPERS asleep in bed. Yorgi is sitting at his COMPUTER in his underwear. He's hacked in to the CZECH POLICE network. YORGI Something bothers me about you, Mr. Xander Cage... He looks around a bit, doesn't find what he's looking for. He sits up, getting pissed. YORGI Get Kirill. Now! She heads out. Yorgi goes to the bathroom, splashes water on his face. Kirill enters, still half asleep. KIRILL What's the problem? YORGI I'm inside the police mainframe. Do you see anything? Kirill studies the screen while Yorgi pulls on clothes. KIRILL What? YORGI I've searched their E-mail. No funeral announcement, no obituary, no call- to-arms. Nothing on the news, even. I swear I saw a cop get shot yesterday. How come no one is talking about it? Kirill looks back at the screen. Nothing there. YORGI I also check the wire transfer. I follow the money back to it's source, but there is no source. It comes from nowhere. First they bring CIA, then British SAS, now maybe they plumb the lower depths. Maybe now they send someone who looks like us. Maybe someone like our houseguest Mr. X. INT. MEDIEVAL MANOR - OFFICE - DAY Petra still has the gun on Xander. PETRA I don't know what you're talking about. XANDER The eyes don't lie. All this has gotten to you, hasn't it, Petra? You came in as Yorgi's girlfriend and you stayed because it was fun. Now you don't like it so much, but you're in so deep you can't get out anymore. Tell me if I'm wrong, Petra. PETRA Go to hell! XANDER Look at you. You're helping run things now. You're a gangster. I bet that snuck up on you. You woke up one day and you were a criminal. She pulls back the hammer on her gun. XANDER It's cool, I feel you. I might even be able to help. Here, let me show you something. You wanna see what's in my pocket, I'll show you. He makes a move and she jabs the gun at him. She reaches into the pocket for him and pulls out his little data recorder. PETRA What are you? XANDER I'm an information gatherer. You wanna go somewhere and talk about it? INT. MEDIEVAL MANOR - HALLWAY - DAY Yorgi creeps down the hall, Kirill in tow. They both screw SILENCERS onto their PISTOLS. They flatten themselves up against the wall and prepare to burst into Xander's room. One... Two... THREE! They kick in the door and aim their guns around. Flak Jacket sits up, terrified. Yorgi and Kirill lower their guns. Viktor stumbles by in his underwear. YORGI Where is he? VIKTOR They went to breakfast. INT. ROMANTIC RESTAURANT - DAY This is a beautiful and historic Prague location with WINDOWS and a nice view. It's rather fancy and PACKED with UPSCALE PATRONS. Petra and Xander sit in the middle of the room, sticking out badly in their grungy clothes. A WAITER takes their order. PETRA Perogies, potato pancakes, fried goose livers, the sausage plate and a pot of Turkish coffee. Xander shakes his head. XANDER I'm just gonna have a garden salad. Oil and balsamic vinegar on the side. The Waiter takes off. Petra puffs on a cigarette, staring at Xander. PETRA That's how you eat? It's like a gerbil. XANDER (shrugs) I'm from L.A. PETRA So why don't you tell me something about who you gather information for. They obviously have very deep pockets. Are you from a rival clan? XANDER Let's just say I'm freelancing and leave it at that. PETRA Whoever sent you knew what they were doing. You and Yorgi are practically twins. Two nihilistic fashion victims who make a lot of noise but don't say much. XANDER Don't judge a comic book by it's cover. PETRA You agree with a lot of what he says, don't you. XANDER I know where he's coming from. The only thing I really don't get is why he dumped you. Up until I found that out, I thought his judgment was pretty sound. PETRA Don't even start. I'll be honest, I don't trust you. Bur lets pretend for a minute that what you say is true, that I want to leave. What can you do about it? XANDER The people I know want facts, the kinds of things an insider would know. They're interested in putting Anarchy 99 out of business. PETRA All I have to do is risk my life providing you with these facts. XANDER We could work together. Then maybe we could both get the hell out of here. There's a beach in Bora Bora with my name on it. PETRA A beach named X? That I'd like to see. XANDER So there you have it. I guess you just have to ask yourself, how bad to you want out? She thinks on it. Then her cell phone RINGS. PETRA (into phone) Da! KIRILL (O.S.) (on phone) Listen very carefully, Petra. We think Cage may be an American agent, do you understand what I'm telling you? PETRA (into phone) Yes. KIRILL (O.S.) (on phone) Don't worry, I've got your back. I'm right across the street, above the bakery. Just bring him outside and let me do the rest. Kirill hangs up. She looks back at Xander, shell shocked. XANDER What's up? Is there a problem? She studies his eyes, decides to risk it. PETRA They tell me you're an American agent. XANDER What are you talking about? PETRA There's no more time for games. They made you. There's a sniper out front waiting to put a bullet in your eye. Tell me if it's true. XANDER It's a long story, but yeah, more or less. PETRA Jesus Christ. You're going to have to go out the back. The data that you copied with your toy. Tomorrow, at six o'clock. Look it up. We're taking a trip. Be there at six and you'll have plenty to tell your people. XANDER If I go out the back, he'll know you've warned me. PETRA That's alright, I'll figure something out. XANDER Not an option. Just get up slowly like everything's cool. Petra, trust me. You just hung yourself out to dry for me, I'm not gonna let you down. EXT. BAKERY ROOF - DAY Kirill lays on his stomach, peering into the scope of his SILENCED SNIPER RIFLE. P.O.V. Through scope - he can faintly see them inside the crowded restaurant. Xander and Petra are making their way towards the

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you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

fucker

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

splendour

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

kidding----i'm

How many times the word 'kidding----i'm' appears in the text?

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

finally

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

mare

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

dickwad

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

troubles

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

minutes

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

take

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

smiles

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

holds

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

a72

How many times the word 'a72' appears in the text?

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

look

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

dreaded

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

amused

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

goddamnit

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

there

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

you give me the money, dickwad! I'm not----Huhgf! Osbourne has punched him in the nose. Chad stares at him, stunned. His nose starts bleeding. CHAD (CONT'D) ... You fuck! OSBOURNE Give it to me, fuck! CHAD You fuck! You fucker! He opens the car door and gets out, hand to his nose. He slams the door. 70 EXT. STREET/COX'S CAR - DAY 70 As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow: OSBOURNE I know who you are, fucker! He pulls out. CHAD You're the fucker! There is the honk of a car horn----not Osbourne's. Chad looks, surprised. Linda is pulling up. Her passenger window rolls down. LINDA Where's the money? CHAD He hit me! LINDA Where's the money?! CHAD He didn't give it to me 58. LINDA Oh, for----Get in! Chad does. CHAD That fucker! 71 INT. LINDA'S CAR/EXT. STREET - DAY 71 He is thrown back against the seat as Linda floors it. Recovering: CHAD ... Hey----what're you---- Linda is coming up fast behind Osbourne's car in traffic. CHAD (CONT'D) Oh shit! The crash of impact----ramming Osbourne. 72 INT. OSBOURNE'S CAR/EXT. STREET - DAY 72 He recoils from the impact. OSBOURNE Holy fucking----you fucking morons! A72 HIS CAR-TO-CAR POV A72 The follow car is speeding up again----but it doesn't hit him. It swerves out, screeching, to pass, and Linda angrily flips him the finger as she speeds by. 73 INT. LINDA'S CAR - DAY 73 LINDA That'll give him something to think about. Chad is chuckling. Suddenly he sobers. CHAD Wait, wait! We gotta go back! Linda's jaw is set. The car is ripping through traffic. Yellow Revision 8/24/07 59. LINDA I knew this would happen. CHAD We gotta go back! My bike! LINDA It's on to Plan B. CHAD It's just a Kryptonite lock----you can open those fuckers with a Bic pen! LINDA Heavens sakes---- CHAD Where we going? My bike! LINDA Some people! A skidding turn sends his weight against the door, and the car lurches to a halt. CHAD ... What is this? LINDA Russian Embassy. A73 INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY A73 CHAD'S POV THRU WINDSHIELD The hulking embassy building. 74 INT. EMBASSY RECEPTION - DAY 74 Linda stands before a reception desk. Chad is just behind her, his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose. His bike helmet is clamped under his other arm. LINDA I told Mr. Krapkin I might be stopping * by? CHAD Is there a men's room? 60. 75 INT. MR. KRAPOTKIN'S OFFICE - DAY 75 Linda and Chad sit in, Chad with a moistened hand-towel now pressed to his nose. Behind the desk sits a sixtyish Russian functionary with the beetle-browed sphynx-like look of the Brezhnev-era bureaucrat. This is Krapotkin. KRAPOTKIN ----Not exactly. I am assistant cultural attach . The organs of state security are not allowed to function within the borders of your country. LINDA ... The organs of state security? KRAPOTKIN Yes. LINDA But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security... She trails off, nodding encouragingly at Krapotkin. Krapotkin looks blankly back. A long beat. KRAPOTKIN Yes. She rummages in her handbag and pulls out the diskette. She holds it aloft, waggling it for Krapotkin. Krapotkin stares. Linda sets the diskette on the table and slides it across. LINDA ... This is just a taste. After a beat of looking at the proffered diskette, Krapotkin leans forward to take it. Linda smiles. Krapotkin turns the diskette over a couple of times, looks sadly up. KRAPOTKIN May I ask the source of this... Linda slowly shakes her head, eyes locked on Krapotkin. Yellow Revision 8/24/07 61. LINDA No you may not. CHAD Very high up. LINDA Chad! CHAD I'm just saying he's high up! A large drop of blood has gathered at the tip of Chad's nose. It now drops onto his shirt. Silence. Finally: KRAPOTKIN PC or Meck? LINDA Um. PC. * KRAPOTKIN Could you wait please? He rises. LINDA Well---- She looks anxiously at her watch. LINDA (CONT'D) ... I have a date---- Krapotkin leaves. When the door closes behind him: LINDA (CONT'D) * The fish. Has bitten. * CHAD * What? Oh, yeah. Yeah, he seems cool. A long beat. Linda looks at her watch. Chad sighs. CHAD (CONT'D) ... That fucker really hit me. 62. 76 INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER 76 Chad is slumped back with his head tilted back. Linda looks at her watch. The door opens. A man in a suit: MAN Could you accompany me please? LINDA Well----okay... 77 INT. EMBASSY HALLWAY - DAY 77 The three people----Linda, Chad, the man in the suit----walking. Linda gazes around; Chad has his head mostly back. 78 INT. ANOTHER EMBASSY OFFICE - DAY 78 Vladimir Putin glares down from a framed photograph on the wall. Chad and Linda are sitting before yet another man, even blander than the first. NEW EMBASSY MAN Can you tell me where this material comes from? Linda makes a pantomime of zipping her lip. The man looks at her impassively. CHAD Name, rank and serial number. The Russian's focus shifts to the man with the bloody nose: NEW EMBASSY MAN Excuse me? CHAD We, um... we know our rights. The man stares at him. A beat. LINDA This is just a taste. The man's look swings back to the woman for another staring beat. At length: Yellow Revision 8/24/07 63. NEW EMBASSY MAN There is more material? LINDA There's a lot more. But we need to be paid. NEW EMBASSY MAN You are not ideological. A beat. CHAD I don't think so. LINDA Look, I have a date. NEW EMBASSY MAN Hm? Linda holds up her watch and taps at it: LINDA Date. The man sighs. NEW EMBASSY MAN ... We will examine the material. How do I contact? LINDA We work at the Hardbodies in Alexandria. CHAD I'm at 1442 Westerly---- LINDA Chad, not your home address! Beat. NEW EMBASSY MAN So... I call Hardbodies, I ask for... Chad? LINDA No. Linda. * 79 INT. LINDA'S CAR/EXT. HARDBODIES - DAY 79 64. TED TREFFON Point-of-view from a car pulling into Hardbodies. Ted Treffon, the soulful manager, stands on the sidewalk in front of the gym, squinting into the approaching car, his arms out to either side, palms up: what the hell is going on? 80 INT. TED'S CUBICLE - DAY 80 Minutes later. TED A line to check in, towels piling up. LINDA I'm sorry. TED Manolo running around like crazy----what happened to your nose? CHAD I just---- TED This is not acceptable at Hardbodies. You two know better than that. LINDA Yes we do. I'm sorry, Ted. TED This is no way. CHAD It was unavoidable. This won't happen again. A considering beat. TED But you won't tell me what's going on. LINDA We can't. I... I... Ted, I know this is terrible, but----I have to run. I have a date. Ted looks at her dolefully. TED You're changing, Linda. Blue Revision 8/1/07 65. He shakes his head. TED (CONT'D) ... Very sad. 81 EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY 81 * The car is parked in the driveway of the Cox townhouse, its back crumpled. Reverse shows Katie, looking at it, furious, her jaw set. 82 INT. COX TOWNHOUSE - DAY 82 * Katie marches in the door. KATIE Ozzie! Goddamnit, Ozzie, what have you done to the car?! Silence. 83 INT. LIVING ROOM - DAY 83 * Katie enters. KATIE Ozzie! Osbourne, lightly sheened by sweat, is in the easy chair in his robe, his microcassette recorder under the hand splayed across his chest. Amber fluid puddles a glass on the side table. Osbourne snores softly. Katie's fury mounts. She visibly fights it down. KATIE (CONT'D) ... All right. All right. 84 INT. PFARRER BATHROOM - DAY 84 * In Harry Pfarrer's house. Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors. We hear his phone ringing, then the answering machine: HARRY'S VOICE Sandy and I aren't here to take your call. Please leave a message. Blue Revision 8/1/07 66. After a beep: KATIE'S VOICE Can I see you please. Harry, please call me. I'm very upset. Harry continues to hum, trimming his eyebrows. The machine beeps off. 85 INT. PFARRER LIVING ROOM - DAY 85 * Harry walks into the living room. He takes some as-yet- unfolded packing boxes and strews them with studied randomness across the floor. As he does so we hear a cell phone chirp. Harry fishes the phone out of his pocket and holds it at arm's length, squinting at the number. Still humming, he stuffs the phone back in his pocket. 86 EXT. STREET/CIRCLE THEATRE - NIGHT 86 Linda meets Harry with a kiss. LINDA I'm sorry----am I late? HARRY No no, doesn't start for five minutes. He is escorting to a movie theater entrance. HARRY (CONT'D) ... You haven't seen this, have you? LINDA Oh! No, no I haven't. Our follow-move brings in a light box displaying the one- sheet for Totally Stoked! with Dermot Mulroney and Claire Danes. As they tail out of frame: HARRY I hear it's terrific. 87 INT. AUDITORIUM - NIGHT 87 On the screen, Dermot Mulroney, dressed in a tuxedo, cranes his head to look steeply up and off. 67. DERMOT First you tell me that you can't commit, then you----WOULD YOU GET DOWN FROM THERE! Along with Linda, Harry laughs raucously, tossing popcorn into his mouth. 88 INT. HARRY'S CHEVY CHASE HOUSE - NIGHT 88 The door swings in and Harry and Linda enter. Harry refers to the boxes littering the floor: HARRY Pardon our dust, I, uh----the ex is in the process of moving out. Damn! I told her I wanted to expedite this. LINDA Uh-huh. HARRY We, uh, you know you try to act like an adult. LINDA Oh, it's never easy. HARRY Oh! Come on downstairs. Do you like surprises? LINDA Well, I'm very open to new experiences... 89 INT. PFARRER BASEMENT - NIGHT 89 The overhead light is switched on. As Harry and Linda come down the stairs: HARRY I gotta tell ya----I saw an ad for this in a gentleman's magazine----twelve hundred bucks. I take a look at this thing, I think, Jesus, you gotta be kidding----I'm a hobbyist, this is basically nothing but speed-rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks... 68. He sweeps the drop-cloth off his project. It looks like a rowing machine, though with a higher seat. Its function is obscure. LINDA ... What is it? HARRY (smug) What is it. You siddown, feet in the stirrups, and... He pushes the seat with his foot. It slides forward then back, forward and back, rocking. On its forward arc a dildo emerges from the center of the seat's pipe-track, angled toward the seat-bottom which is cleft to accommodate its entrance. A long beat as the seat squeaks back and forth, the dildo rhythmically bobbing up and down. At length: LINDA Omygod! Another couple of cycles. LINDA (CONT'D) ... It's fantastic! HARRY Isn't that somethin'? Hundred bucks all-in if you don't count my labor. And the, you know----cost of the dildo. Those things are not cheap. LINDA Uh-uh. HARRY But I lack the, uh, I'm not set up to mold hard rubber. Both stare at the rocking love seat: Squeak. Squeak. Squeak. 90 INT. BAR - NIGHT 90 69. CLOSE ON OSBOURNE Sitting in a bar booth, staring, incredulous. OSBOURNE ... The Russians? Across from him, a man of Osbourne's age. MAN (HAL) Uh-huh. OSBOURNE The Russians? HAL Uh-huh. Russian Embassy, yeah. Osbourne stares. OSBOURNE ... You're sure? HAL Hey, the guy was not hard to follow. As you know. OSBOURNE Why the FUCK would they go to the Russians?! The man responds only with a shrug and a commiserating head- shake. OSBOURNE (CONT'D) ... Why the FUCK... Osbourne struggles to compose himself. OSBOURNE (CONT'D) ... I'm sorry. Thank you, Hal. HAL Hey. No problemo. He leans in, voice lowered. HAL (CONT'D) ... Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you. Osbourne looks. 70. HAL (CONT'D) ...You haven't gone poofy on me, have ya Oz? There are two men with drinks at a booth. At Osbourne's look one of them, who has been staring, looks hastily away. OSBOURNE (sharply) Can I help you? The man meets his look again. He smiles, rises, ambles over. MAN (PROCESS SERVER) Sorry to stare, I just couldn't place the... You're Princeton, aren't you? My year? '73? OSBOURNE (softening) Yeah. PROCESS SERVER I just didn't remember your... Osbourne extends a hand. OSBOURNE Osbourne Cox. PROCESS SERVER Thought so. He smiles as he deposits a large manila envelope in Osbourne's extended hand. PROCESS SERVER (CONT'D) ... Served... He nods toward his companion, watching from the booth. PROCESS SERVER (CONT'D) ... and witnessed. Have a good evening. The man walks off; his friend hastily knocks back the rest of his drink and rises to follow him. Osbourne stares stupidly at the envelope in his hand. HAL Ouch. 71. 91 INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT 91 THRU A WINDSHIELD Night. Rain. The car corners into a driveway and its headlights rake the front of the Cox townhouse, which is dark. A couple of pieces of luggage and several cardboard boxes are stacked on the stoop, most of them protected from the rain by the eave but some not. OSBOURNE'S VOICE What the fuck? OUTSIDE The car stops. Osbourne emerges, runs through the rain to the front stoop. Rain drums against cardboard. OSBOURNE What the fuck? He puts his key in the lock and----it doesn't turn. OSBOURNE (CONT'D) ... Fucking... He nudges a cardboard box with his toe. He looks up at the dark house, squinting against the rain. 92 INT. JAMBA JUICE - DAY 92 Linda and Chad sit at the counter, Linda drinking a large protein shake, Chad idly twirling a straw wrapper around one finger. CHAD Why did you tell him we could get more stuff? LINDA Well maybe we can. CHAD That's all Manolo found! That was everything! What're we, gonna tell Manolo to scoop some more secret shit off the locker room floor! LINDA Hey! Yellow Revision 8/24/07 72. CHAD What. LINDA I don't like the snideness! Nor the * negativity! CHAD (abashed) I'm sorry. LINDA I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games! CHAD Yuh-huh. I'm sorry. LINDA So let's figure this thing out! PUBLIC ADDRESS Chad, your Berry Blast is ready. LINDA We know who he is CHAD Right: Osbourne Cox. LINDA So we can find out where he lives, right? CHAD Um. I guess. LINDA You should change. Into your suit. CHAD Why? LINDA So you don't look out of place in the neighborhood. There are certain elementary things. CHAD His neighborhood? Yellow Revision 8/24/07 73. LINDA Yes. We'll remove the laundry marks and labels. And you should not be carrying ID. CHAD Laundry marks? * LINDA Deniability. CHAD Okay. PUBLIC ADDRESS Chad, your Berry Blast is waiting. 93 EXT. COX TOWNHOUSE - DAY 93 LONG LENS POINT-OF-VIEW A car is pulling into the driveway. Katie Cox emerges from the driver's side. Reverse shows Chad, in his suit, watching from a parked car across the street. Now Harry Pfarrer emerges from the passenger side wearing a brown pin-striped suit. Encumbered by something bulky he follows Katie up the walk. It seems to be some kind of pillow or cushion under his arm, but very large, and wedge-shaped. Katie is letting herself in; Harry gives a furtive glance around----as Chad sinks back in his car seat----before entering with the wedge-cushion. The door closes. Chad relaxes, straightens up. A beat. He looks idly around. He notices: Another car, parked on the same side of the street, further up. Someone is just straightening from a slouch to become visible over the driver's headrest. Chad looks, puzzled. 94 INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER 94 Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around: 74. The door to the townhouse is opening. Katie emerges, in a change of clothes. Harry follows in sweats. They get into her car. It pulls out. Chad watches it go up the street. He is about to open his door but pauses, seeing: The parked car up the street. Katie's car having passed, it now pulls out and follows at a discreet distance. Both cars disappear. Chad opens his door and gets out. He is crossing to the townhouse when he notices another car parked on the other side of the street. A man sits in the driver's seat, smoking. Chad proceeds on to the house. There is a barred garden- level door tucked under the stoop. Chad checks out the caging on the door. He looks up the fa ade of the house. 95 INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY 95 It pulls over at one end of the Potomac bridge that we have seen before. Harry emerges. HARRY What's the odometer say? KATIE Five. HARRY About five or approximately five? I mean----about f---- KATIE For fuck's sake, Harry, it's five miles. Five point two. HARRY Okay, fine----I gotta do at least five. Five and a deuce is okay. KATIE I'm surprised you have any energy left. HARRY You kiddin'----pull around the corner we'll do it again in back! 75. KATIE You are very coarse. HARRY No, back of the car. I didn't mean a rear-entry, uh---- KATIE Ach. I'm late---- The car squeals away, leaving Harry on the shoulder. 96 EXT. COX TOWNHOUSE - DAY 96 Chad is cornering the house on the driveway side, appraising. A low wall separates driveway from back garden. Chad gives a quick glance around. 97 EXT. COX TOWNHOUSE - BACK GARDEN - DAY 97 Chad vaults the wall to land in the garden. The garden steps down to a back door. Chad checks out the windows in back, then goes to the door. It is locked. It has a large window. 98 INT. COX TOWNHOUSE - BACK WINDOW - DAY 98 We can see Chad's form outside the door. Its pane is tapped once... twice... it breaks. 99 EXT. POTOMAC BRIDGE - DAY 99 HARRY JOGGING He spins, jogs backward. His point-of-view: a car, traveling slowly. Following? Harry cuts across a park lawn. 100 INT. TOWNHOUSE BASEMENT - DAY 100 Chad is nosing around the basement. He notices Ozzie's office set-up. 101 EXT. STREET NEAR PARK - DAY 101 76. HARRY Emerging from the park onto another street. He looks around and, satisfied that he has lost the tail, jogs on. 102 INT. COX TOWNHOUSE - BASEMENT - DAY 102 Chad is looking at the screen of Ozzie's computer. He fishes a CD out of his suit pocket, feeds it into the computer. 103 EXT. RESIDENTIAL STREET - DAY 103 HARRY Jogging, entering a residential area. 104 INT. COX TOWNHOUSE - DAY 104 Chad is emerging from the basement. He is looking idly around, heading toward the front door when a shape materializes in its frosted glass sidelight. Chad freezes. There is scraping at the lock. Chad quickly mounts the stairs. 105 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 105 Chad freezes, listening. The downstairs door swings open, shut. Footsteps. A tread on the stairs: Chad scurries into the first open door. 106 INT. COX TOWNHOUSE - BEDROOM - DAY 106 Chad hotfoots into a closet and eases its door most of the way shut. The footsteps mount the stairs. Chad peeks out. His POV: The bed, bedclothes rumpled. In the middle of the bed, a wedge-cushion. 77. Beyond, the open bedroom door shows a slice of hallway and stairs. Harry arrives at the top of the stairs. He nudges back a drape on the window at the top of the steps. He looks down one way, then the other. He lets the drape fall back and seems to relax. Harry enters the bedroom. He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom. He leaves the door open. Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back. Harry emerges from the shower. He rinses off, humming "Born Free," and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau. Chad shrinks back into the closet as Harry approaches. Harry stops, just outside the cracked door. Through the crack we see only the white of his shirt. Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor. Chad leans in ever so slightly to see, but draws back again as Harry approaches. Chad looks over to his right: on a hanger, the brown pinstripe coat that matches Harry's pants. The closet door is thrown open. CHAD Nuhhh! HARRY AHHHHHHHHHH! Harry jerks up the gun which he's pulled from the shoulder holster in his other hand and----BAM----shoots Chad in the face. The gun bucks. Unused to the recoil and still screaming, Harry staggers back and trips over the edge of the bed and drops the weapon. He crabs briefly backward and then flips over and scrambles off on all fours. In the hallway he rises and tramples down the stairs. 78. 107 INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY 107 He stops at the bottom of the steps, panting. He looks back up the steps, trying to control his heavy breathing so that he can listen. A long silence. HARRY ... Hello? No answer. He looks around. 108 INT. COX TOWNHOUSE - KITCHEN - DAY 108 Harry enters. He opens a drawer, closes it, opens another. 109 INT. COX TOWNHOUSE - FOYER - DAY 109 Harry enters from the kitchen and starts slowly mounting the stairs, a chopping knife in one hand. HARRY ... Hello? 110 INT. COX TOWNHOUSE - SECOND FLOOR - DAY 110 Harry tops the stairs. He pauses, looking at: The bedroom door, ajar. Inside, his gun lies on the floor. Harry takes cautious steps toward the door. He pauses at the cracked door. Suddenly: HARRY Hungh! He plunges through the door and runs for the gun and scoops it, dropping the knife. He stands and spins, panting. His point-of-view: the closet. Its door ajar. Legs protrude into the room as if Chad, hidden within, is sitting with his back against the closet wall contemplating his next move. 79. Harry walks cautiously over. With a bare foot he experimentally waggles one of Chad's feet. Limp. Harry nudges the door. HARRY (CONT'D) ... Hello? It creaks fully open. HARRY (CONT'D) ... Omygod. Omygod. Chad's face is a powder-burned, chewed-up mess. HARRY (CONT'D) ... Omygod who are you. You fucker. Omygod. He gingerly crouches down. HARRY (CONT'D) ... You fucker... He tries to avert his eyes as he feels in Chad's suit pockets. HARRY (CONT'D) ... Omygod, my god... Ungh... He comes away with a wallet and hastily stands. HARRY (CONT'D) ... Omygod... Inside are a few dollars and nothing else: no credit cards, driver's license; empty. HARRY (CONT'D) ... What the fuck... He leans back in, trying not to look, but for some reason feeling obliged to return the wallet. As he opens the suit coat to slip it back in the inside pocket he notices: The suit label has been cut away. He fingers the raveled fringe. HARRY (CONT'D) ... Oh my fuck... He straightens up again. 80. HARRY (CONT'D) ... I killed a fucking spook. You fucker... He gazes down at the body. HARRY (CONT'D) ... What are you doing here, you fucker. 111 INT. CIA HALLWAY - DAY 111 We track at floor level, following the well shined shoes of someone walking down the well polished hallway. 112 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 112 We are low, outside an office door. The shoes enter frame and the door is swung inward, away from us, to show Palmer DeBakey Smith seated behind his desk. He looks up. PALMER Olson. What's up. The door slams shut. 113 INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY 113 Some time later. Our camera position is higher. At the cut the door swings open and Palmer Smith strides out, grim-faced. 114 INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY 114 Tracking behind his shoes down a different piece of hallway. 115 INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY 115 Palmer Smith's back enters and he swings the door open. A silver-haired man looks up from his desk where he is leaned back, eating orange sections off a paper towel on the desktop. MAN Palmer. What's up. 81. PALMER Not quite certain, sir, but it's... messy. He seats himself facing the desk. A desktop nameplate identifies his superior as Gardner McC. Chubb. Palmer hands a folder across, grimacing. PALMER (CONT'D) ... Kolyma-2 tells us that they have computer files from an ex-analyst of mine, Osbourne Cox. GARDNER CHUBB Kolyma-2? PALMER Our man in the Russian Embassy. GARDNER CHUBB Mm. PALMER It was brought to them by a woman who---- GARDNER CHUBB The Russians? PALMER Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's. GARDNER CHUBB The Russians. PALMER Yeah. GARDNER CHUBB Who's Pfarrer? PALMER Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other. GARDNER CHUBB All right. Spare me. 82. PALMER Yes sir. But this Treasury guy----it's gotten... complicated. He just shot somebody in Ozzie's house. GARDNER CHUBB Shot----your analyst? Palmer shakes his head. PALMER Ozzie wasn't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him; he dumps a body in the Chesapeake Bay. GARDNER CHUBB Well----what'd he do that for? PALMER Don't know sir. GARDNER CHUBB Oh for Christ sake. Anyone fish the body out? PALMER Mm-hm. GARDNER CHUBB Russian? American? PALMER Don't know. Scrubbed of ID. GARDNER CHUBB And this... Linda...? PALMER Linda Litzke. GARDNER CHUBB She's Treasury? PALMER No, we're----um... fuzzy on her. Gardner Chubb is flipping bemusedly through the contents of the folder. GARDNER CHUBB Well----so----we don't really know what anyone is after. 83. PALMER Not really, sir. GARDNER CHUBB This analyst, ex-analyst, uh... PALMER Cox. GARDNER CHUBB Yeah. What's his clearance level. PALMER Three. GARDNER CHUBB Okay. Okay, no biggie... He reaches the folder back to Palmer. GARDNER CHUBB (CONT'D) ... for now just keep an eye on everyone, see what they do. PALMER Right, sir. And----we'll interface with the FBI on this, uh, dead body? GARDNER CHUBB No! No, we don't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I don't know. When it makes sense. 116 INT. YACHT CABIN - DAY 116 A HOPPING MAN IN A UNITARD His hands are on his hips. He is darkly Mediterranean and very fit. He smiles into the camera as he hops in time to upbeat music, kicking a leg out on each beat. MAN To the left!... Repeat!... To the right!... Repeat!... And in!... And out!... And higher!... Repeat!... Wider shows that the man is on TV leading the viewer in exercise. The viewer, in this case, is Osbourne Cox, on his boat. 84. He follows along in his underwear in the cramped quarters belowdecks. Boxes and luggage are strewn about, half- unpacked. He pants as he exercises: OSBOURNE I'm bigger... I'm back... I'm better... I'm back... than ever... I'm back... fuckers... I'm back... MAN ON TV ... And good!... Repeat!... Now bend!... And bounce!... . And lower!... Repeat!... And up!... And back!... And up!... Repeat! 117 INT. TED'S OFFICE/LINDA'S OFFICE - DAY 117 LINDA We are on a long lens point-of-view, from several cubicles over, of Linda slumped at her desk, head in her arms. We faintly hear her sobbing. Reverse shows Ted Treffon, the soulful manager of Hardbodies, looking at her, unsettled. CLOSE ON LINDA We are in her cubicle now, her weeping bumping up at the cut. A tap against the cubicle window brings her head up. Ted Treffon opens the door. TED Linda. You okay? LINDA I'm fine, Ted, I'm sorry. He sits at the chair alongside her desk. TED You don't look fine. LINDA No no, I'm... I'm... TED You won't tell me what it's about. You never let me in, Linda. 85. LINDA Oh, I know you're trustworthy, I just... don't want to endanger other people with----I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall. Ted sighs. TED Uh-huh. Well, I don't know what to think. You both go AWOL on Friday; today Chad doesn't bother to come in at all---- LINDA I know, Ted. TED Linda, I can't run a gym this way. LINDA I know, Ted. TED I'm going to have to fire him. LINDA No! No no no, Ted! Just, just. . . TED What? LINDA Give me twenty-four hours! TED To what? LINDA To, um... I don't know, twenty-four hours! TED Linda---- LINDA Just give me twenty-four hours to solve this thing! TED Linda. I have to tell you. A man was here earlier asking about

cancer

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

running

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

goddamnit

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

robe

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

listen

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

between

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

song

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

spitting

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

rupees

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

over

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

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you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

unlit

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

please

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

private

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

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you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

sound

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

drops

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

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you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

body

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

slowly

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

you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty. 25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames. 26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house. 27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns. 26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards. 28. STAIRWAY Tracking on the approaching feet. The song grows louder. 26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door. 28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness. 29. SECOND ROOM Leo throws open a window. 30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands. 29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we: 31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson. 32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits. 33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw. 34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough. 35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT 36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are. 37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat. 38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny. To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up. 39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at

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