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NLP Research Group 11

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

trickling

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

model

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

capture

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

hill

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

viewpoint

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

int

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

mr.

How many times the word 'mr.' appears in the text?

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

aisles

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

hallowed

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

acres

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

pick

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

fossilized

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

studio

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

go

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

strands

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

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- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

shapes

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

blunder

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

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

- DAY Hammond ushers his guests into his own richly appointed baronial suite. Ellie looks out a small window at the tee-pees and the contrasting lifestyle below. She then focuses on the high fence, circling the perimeter of Hammond's quarters. Above is a skylight, with metal bars. Grant whispers to her, indicating the obviously modified window frame. GRANT Who makes a windows ... smaller? Timmy smacks him forehead, points to Grant. TIMMY I know you. You wrote my book. Lost World of The Dinosaurs. It's awesome. LEX Timmy's got dinosaurs on the brain. GRANT Don't worry - he'll grow out of it. ELLIE Dr. Grant's embarrassed that his book was so widely successful. He wrote if for gra duate students. Hammond smiles intensely. But he's patient. He stands be a huge table covered with a sumptuous velvet drape. HAMMOND Although Dr. Grant suspects otherwise, this is not an ill-conceived, half-baked, poorly funded plan that I've headed. This is a plan to which I committed all of my personal resources, literally billions of dollars. And Donald Gennaro here has kindly helped me raise that sum again from wealthy Japanese. They love theme parks. I have recruited pre- eminent scientific minds from hallowed universities and we've taken the time to do things right. Lex peeks under the cloth. Hammond smiles at her and recovers the table. HAMMOND Jurassic Park is the most advanced amusement park in the world. We work with genetics - life's essential building blocks - to create new worlds. I set out to make biological attractions. Living attractions. Attractions so astonishing that they'd capture the imagination of the entire world. GRANT What exactly do you mean ... biological attractions? HAMMOND As you well know, long ago, creatures ten times larger than whales roamed our adolescent Earth. And then mass, mysterious extinction created a time barrier unscalable until ... now. BEAT. GRANT Yes? HAMMOND Dinosaurs. (superbly proud) I've been cloning dinosaurs! CAMERA PUSHES IN on Grant's incredulous face. Hammond whips off the drape, revealing a complex and detailed scale model of the entire resort. HAMMOND Ladies and Gentlemen, Jurassic Park. Not a resort, not a scien tific conservatory, just a little piece of pre-history that every child in the whole wide world will insist on visiting. Hammond grins with delight. GENNARO At least every rich child. Grant and Ellie come forward to examine the model. The kids crowd in. CAMERA SNORKELS through the model - revealing different enclosures with miniature dinosaurs, moats, fences, roads, a river. HAMMOND Apatosaurs in the lowland. Gallimimus in the grassy plain. Dilophosaurus above the river. The mighty Tyrannosaurus Rex! 238 fabulous creatures so far! TIMMY Real dinosaurs, Grandpa? Don't they want to just kill each other? Hammond excitedly punches a button - colored display grids light up. HAMMOND Timmy, there's electric fences and moats and video surveillance at all times. There are monitors every hundred feet whatever we could plant them on the island. A computer to tabulate it all. ELLIE You created dinosaurs? Who gave you the right to do that? HAMMOND I didn't create them. I found a way to wake them up, to stir them out of their prehistoric slumber. GRANT We don't have the science. There's no source of dinosaur DNA. Hammond's proud, excited face shifts to one that divulges modestly. HAMMOND Yes ... there is. INT HALLWAY, UPPER FLOOR, VISITOR'S CENTER - DAY Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator and down an endless corridor. A WORKMAN ON CRUTCHES passes them. They go through a series of security doors. To get them open, Hammond places his palm on a screen before each door. Each time, it lights up with an x-ray-like image of his hand and each door HISSES open. CLOSEUP - Security x-ray. of Hammond's hand. BEEP. A red line writes through the screen. Can't get in. Complaining, under his breath: HAMMOND Glitches. Hammond tries again. INT CONTROL ROOM - DAY The door HISSES open, revealing an elaborate technology-crammed room. In dim light, clusters of computer consoles and video monitors glow. Nedry sits in a corner at a keyboard with a pile of papers next to him, typing away. JOHN ARNOLD, 45, park supervisor, sits directing the activities of the park and chain-smoking. There are large windows looking out to the park, one of which is cracked and being replaced from the outside by a TEAM OF WORKMEN. Hammond wears a big smile as he leads in his entourage. He's the ringmaster. HAMMOND And this is the right side of my brain. The entire park is safely controlled from here. John Arnold, that genius over there, is the m aster control operator. (with genuine concern) John, don't smoke so much, you're far too valuable a man to me. ARNOLD Oh, you'd survive just fine without me. Arnold exhales smoke and waves good-naturedly. Nedry stares darkly at Hammond, who ignores him. HAMMOND Everything's controlled from here. Remote everything. Cars, feeding programs, medicine dispensers, fecal clean up - and that can be tons in a park like this. We run this place with twenty workers. This computer does it all. And it polices each and every single animal out there. ELLIE (whispers to Grant) Who polices the computer? Hammond points up. Overlooking the control room and the park is a raised platform with a huge chair, like a throne in a court. A large video screen faces this chair. HAMMOND That's where I will watch the astonished watchers. Okay, let's go. They practically race as a group to keep up with Hammond. The security door seals shit, leaving Nedry and Arnold alone again. NEDRY Thanks for the kind word, Mr. Hammond. ARNOLD Come on, Dennis, he knows your technical contributions have made it all possible. NEDRY Right. BACK ON HALLWAY - Hammond and his group turn off the corridor and reach a door marked: CAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm. TIMMY That stuff turns you into a mutant! He contorts his face into strange shapes. As Hammond leads them all in Lex pulls on his pocket. HAMMOND Don't mind the signs. They're only legal precautions. Gennaro frowns. The door opens and Lex peeks in. HAMMOND My laboratory, Lex. It will be yours and Timmy's someday. INT AMBER ROOM, LABORATORY - CONTINUING ACTION Grant and Ellie share a baffled look. Grant stares. Grant's POV - PAN ACROSS a room filled with honey-colored glowing stones arranged on glass shelves in large pull-out trays. Each stone is tagged and numbered. Grant leans down, studying the stones. He bumps right into Gennaro. Lex jumps excitedly. LEX It's ... gold! TIMMY It's amber. Fossilized tree sap. LEX Grandpa found gold. Grant shushes the kids and looks to Hammond. HAMMOND You're both right. Amber is our gold. The alpha or our alchemic alphabet. The precious course of our genetic material. You already know amber is the fossilized resin of prehistoric tree sap, of course. Grant and Ellie nod impatiently. Hammond sets the scene. HAMMOND Imagine - millions of years ago, tree sap flowing over insects, as it does now as I speak, in thousands of forests and backyard trees everywhere. Imagine that ancient sap trapping a little struggling insect and consuming it in a syrupy death. Millions and millions of years pass and we come along and discover this prehistoric insect. If we're lucky, he's perfectly preserved in a fossil form inside the hardened sap which is now amber. And as we examine more and more amber, we find many perished insects, including among them, biting insects - GRANT Like mosquitos - HAMMOND Like mosquitos, precisely, Dr. Grant. GRANT Mosquitos that sucked the blood of dinosaurs. That's your source of DNA material? My God! It just might work. INT EXTRACTION ROOM, LABORATORY A TECHNICIAN carefully positions a piece of amber under a fine-pointed drill. With a nod, the technician's goggles drop from his forehead onto his eyes and he starts up the drill. Hammond yells over the loud WHIRR. HAMMOND The extraction room speaks for itself. CLOSE ON - drillbit boring into the amber. Orange fleck fly. GRANT It does? The technician shuts the drill. Placing his hands into a mounted pair of gloves, he operates an automated pair of needle-nose pliers to carefully lift out the remains of a mosquito. He drops this bug on a slide and places this slide on a tray full of such slides. LEX That's a million year old mosquito? A conveyor belt starts, carrying this tray on to the NEXT TECHNICIAN. The group follows. This technician puts the first slide under a microscope. Grant watches on a video monito r as the tech inserts a long needle into the prehistoric bug. ELLIE Put in a piece of amber, find a mosquito, drill it out. Right? HAMMOND Right. You are witnessing the extraction of tissue from the thorax of this humble insect. If this mosquito has ingested any foreign red blood cells - say it bit a hadrosaur or a stegosaurus or a T-Rex - we will extract those blood cells and obtain paleo-DNA, the how-to-build instruction book of an extinct creature. So you see, Ellie, I'm not creating dino- saurs. Fossils left behind the information, the map of how to bring them back. I'm helping them escape from the confined of time. GRANT But even thousands of mosquitos wouldn't give you enough tissue to determine a complete DNA strand. HAMMOND Right you are, Dr. Grant! More like hundreds of thousands of mosquitos are necessary to provide even a partial strand of DNA. And without a complete strand, we don't have a dinosaur. INT GENETICS ROOM A LOUD HUMMING SOUND. Along the walls are rows of waist-high stainless steel boxes. In the room's center are two six-foot-high round towers. At a single console, a man studies a monitor. DR. WU, 35, looks up from his study and beams at his guests. He jumps up and knocks over his cup of coffee. ASSISTANTS clean the area as Wu comes forward and actually hugs Grant, much to Grant's embarrassment. HAMMOND Ah, I knew you two would hit it off! Dr. Grant, this is Dr. Wu, my chief geneticist. WU Finally, you are here! I've been working without the encouragement of my peers for too long. Welcome, welcome! He kisses Ellie, who takes it in stride. Gennaro, We already knows. WU Mr. Hammond never lets me publish and he's interested only in results, not in science. HAMMOND Don't forget to thank me when you pick up your Nobel prize. Hammond and Wu resume the tour. HAMMOND You are standing in the middle of the most powerful genetics factory created since the expulsion from Eden. WU These are Hamachi-Hood automated gene sequencers, those are Cray XMP's, supercomputers that take DNA information and organize it. In this room, we take fragmented or incomplete DNA strands and compare them to other incomplete strands. HAMMOND It's like finding the missing pieces of a jigsaw puzzle. WU The computers make sever al trillion calculations to provide us with a complete DNA strand - the genetic code of an extinct animal. INT INCUBATION ROOM, LABORATORY A vast room bathed in infrared light, filled with long tables. The first tables have rows and rows of centrifuges, each bearing dozens of test tubes. Wu leads the group. GRANT Okay, you have your "complete" DNA strand. How do you grow it? WU We use unfertilized crocodile ova as our breeding medium. HAMMOND Our primordial soup. GRANT And how do you know what it is you're growing? Wu shrugs. WU Well, we have computer techniques to try and map out finds on an evolutionary basis. But mostly, we just grow it and find out what it is. If it's something we're interested in, and it survives, we keep it. Grant and Ellie share a concerned look. GENNARO And if you're not interested? Wu indicates a cabinet of chemicals with skull-and-crossbone warnings. Timmy regards the poison with excitement. Lex calls from deeper in the room. LEX Come look! Here, plastic eggs lay on the long tables, their pale outlines obscured by a grey mist that covers the tables. The eggs are all gently rocking as TECHNICIANS roam up and down the aisles. Hammond walks ahead of the group. As Wu speaks, Hammond listens and enjoys it as though he's hearing it for the first time. WU This is the incubation room. We keep the temperature at ninetynine degrees and a relative humidity of one hundred percent. GRANT AND TIMMY Jurassic atmosphere. Timmy smiles at Grant. Hammond winks at Timmy. WU We also run a high oxygen concentration, up to thirty-three percent, so if you feel faint, please tell me right away. Lex feigns a faint, Timmy cracks a small smile. They move forward, waist-deep in the mist. A strange green light emanates from the incubators. Lex is half-consumed by the mist. She mimics the witch. LEX I'm ... melting! Ellie laughs and pulls Lex close. WU Reptile eggs contain large amounts of yolk but no water at all. The embryos must extract water from the surrounding environment. GRANT That's why you create the mist. Wu nods. Hammond just enjoys the scene as Grant and Ellie watch a thermal sensor moving from one egg to the next, touching each with a flexible wand, beeping. Lex and Timmy let their hands glide over the sides of the green glowing incubators fully awed by the strange, big eggs they hold. WU Children, please do not touch! The eggs are permeable to skin oils. Grant that very close to an egg. He sniffs it. GRANT What kind of eggs are these? Are these shells plastic? WU Yes, they are, The embryos are mechanically inserted and then hatched in this room. But we've managed to sufficiently mimic the actual biological process - these creatures rupture the plastic membrane that they're contained in when they're born. Like real births. They reach an endless row of incubators, lined up along the wall, beneath a viewing area like those found in an OB-GYN ward. WU Eggs that are determined viable spend their last couple days in our specially- designed incubators, which help accelerate the pre-natal developmental stages. Which is interesting becaus e we're having a problem with the adult animals - Hammond claps a hand over Wu's mouth and laughs. HAMMOND There's no problem Dr. Wu can't handle. Now who wants to see the real thing? As they exit the CAMERA PANS the misty aisles, studying the eggs. EXT VISITOR'S CENTER - DAY Blue shadows of clouds sweep across an expansive green hill in front of the Visitor's Center. Grant and Hammond make their way down below to the loading area for the park tour. A little ahead is Gennaro and Ellie. Gennaro chatters on while Ellie energetically explores the area, looking at the plants. GENNARO ... so naturally, Hammond's going to present everything in the best light. I need to know that this park is safe. ELLIE I'll tell you something that troubles me from the start. The carnivores are all well-fed and kept separated from their natural prey. That'll keep 'em alive, but it won't keep 'em happy. GENNARO How do you mean? ELLIE The carnivores will want to hunt. It's an instinct. And that instinct will have to be satisfied or suppressed. FURTHER UP THE HILL, moving slowly, Hammond eyes the pair suspiciously. HAMMOND Gennaro is putting negative ideas into Ellie's head. He's a naysayer. I have no affection for that type of thinking. GRANT Don't worry. Ellie makes her own judgments. At the base of the hill Timmy and Lex toss a baseball. EXT TOUR START - DAY The group gathers. TWO ELECTRIC CARS glide to a stop behind them. Regis leans out of the first one. REGIS Hey! Great day for a tour! GENNARO Looks like rain to me. REGIS No! I told the rain-god to hold it off till we got back. The kids pile in next to Regis and explore the high-tech cars. Timmy finds a a pair of very think, strange-looking goggles with dials on top. Grant, Ellie, and Gennaro climb in the second car. HAMMOND Kids, mind Mr. Regis. He's in charge now. The cars begin to move and pass Hammond. He waves. Gennaro looks back as the cars turn into the brush. Hammond waves. HAMMOND Gennaro, for once in your life, let something really move you. In the cruiser, Gennaro rubs his neck. He turns to Grant. GENNARO Ever get the feeling we're just Hammond's damn guinea pigs? GRANT I like to wait and see. Ellie motions ahead, with excitement and apprehension, to a huge gate. Regis and the kids wave behind to Grant, Ellie and Gennaro. The gate's doo rs swing open and the cruisers move forward. The kids squeal out a YA-HOO that floats through the air to Grant. But Grant wears a cautious face, his skeptical eyes scan the landscape. A FANFARE of trumpets and then a pre-recorded voice speaks from a console in each cruiser. Video screens display a welcome message. PRE-RECORDED VOICE Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world of mighty creatures long gone from the face of the earth, which you are privileged to see for the first time ... Regis uses his walkie-talkie to contact Grant's cruiser. REGIS (ON WALKIE) That's Richard Kiley. We spared no expense. PRE-RECORDED VOICE We'll begin our tour today with the herbivores ... INT/EXT CRUISERS, FIRST TOUR STOP - DAY Between massive tree trunks, a spectacular view: stor m clouds touch mountaintops. Below, the lagoon ripples in pink crescents. PRE-RECORDED VOICE ... and the grasses are a species of juniper, and samples can be purchased at the gift shop. Now, if everyone will take a look to the right ... All eyes swing that way. Grant doesn't see a thing. Nor do the others. AHEAD, Timmy pulls the binoculars out of the equipment pouch and studies the location. Lex grabs the night goggles. Timmy pulls them from her. REGIS Look ... LEX AND TIMMY I don't see anything. Do you see anything? There's nothing there. REGIS Something's out there ... IN THE SECOND CAR, a fly buzzes on Grant's windshield. Grant hangs out his window almost sniffing the air for some movement. Nothing. SUDDENLY the trees in front of them move! A deep trumpeting SOUND and TWO BRACHIOSAURS rumble away fr om the side of the road. The ground SHAKES as they walk, their BELLOWING fills the air. Led by Grant, the passengers rise through the open top of their Land Cruisers, to look up at the dinosaurs far above. DROOPING FROM ABOVE, leaves and little branches shower on Grant. Utter amazement fills Grant's face, then his mouth breaks into a giant smile then a laugh. He simply can't believe his eyes. His laugh becomes raucous and euphoric. GRANT Ellie! Can you imagine the excavation team seeing this! Behind him, Ellie's whole person is awestruck, immobile. Gennaro squints, straining to make sense of this unbelievable reality. IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the animal and then at the group's reverie. He smiles knowingly: he's been there, too. He bends and whispers: REGIS Congratulations. You're the first kids in the whole wide world ever to see real dinosaurs. The kids look up at Regis with wonder in their eyes. GRANT CAN'T stop laughing. Still chewing, a brachiosaur cranes down to peer at this laughing man. The brachiosaur's huge head stops inches away from Grant. Grant, awestruck, stares and them - CLOSE ON - Grant as his eyes slowly roll back and ... he faints. The dinosaur casually moves away as Ellie comes to Grant's aid. ELLIE Alan? Alan? (sort of delighted) He fainted! Gennaro waves to Regis that all is okay. Grant slowly revives. He looks back at the brachiosaur, groggily, smiling away. He looks at Ellie and their eyes linger on each other longer than usual, sharing a look of serene delight. Gennaro plops back in his seat and ponders the scene before him. A glazed look fills his face. GENNARO My God, we're going to make a fortune here! CAMERA PUSHES IN on the majestic, gentle beauty of the Brachiosaurs. JUNGLE SOUNDS DOMINATE, growing l ouder and louder. INT CONTROL ROOM - DAY Hammond sits at his throne, happily watching the huge video screen which displays the tour group. He laughs raucously and calls to Arnold. HAMMOND He fainted. I've waited fifteen years to impress that young man. ARNOLD Oh Mr. Hammond, I'm sorry to interrupt you, but Muldoon needs you by the pit. HAMMOND Oh, balls. INT/EXT CRUISERS, SECOND TOUR STOP - DAY The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS graze. They stand on their hind legs to get at high palm trees, then drop gracefully down on all fours to chew. BABY GALLIMIMUS scamper around the adults, eating leaves that drop from the larger animals. PRE-RECORDED VOICE ... Gallimimus, known as the ostrich dinosaur for the shape of its shoulders, have a very strong nesting instinct ... Grant do esn't listen. He is simply intoxicated with the pastoral beauty of the gentle, grazing dinosaurs. Suddenly, he looks away with a deep concern. Ellie looks at him questioningly. GRANT Ellie? What the hell are we going to do with the rest of our lives? Ellie smiles at him, puzzled. ELLIE What to you mean? GRANT Can't you see it, Ellie? We're the ones that are extinct now. INT/EXT CRUISERS, THIRD TOUR STOP - DAY PRE-RECORDED VOICE ... lots more to see in the herbivore section of our park. But as we come alongside out Jurassic jungle river to the left, let's try and catch a glimpse of a very unusual and dangerous carnivore. Look across the river and above ... A lovely mossy clearing. And to the side, bounded just by a thicket of bushes, a precipitous drop to a tropical river, lus h and clear. The river runs fast but it is narrow. On the other side is a sharp rise. PRE-RECORDED VOICE And there they are! Standing on that natural pedestal and watching our tour come to a stop are TWO DILOPHOSAURUS, man-sized dinosaurs with gills that hang around their necks. Grant and Ellie chime in with the pre-recorded voice. ALL THREE Dilophosaurus! Timmy and Lex point enthusiastically. Regis holds them down with a gentle but restraining arm. PRE-RECORDED VOICE Dilophosaurus is one of the earliest carnivores. Scientists once thought their jaw muscles were too weak to kill, but now, through the miracle of their cloning, we know Dilophosaurs spit venom, a poison which causes blindness and then unconsciousness. Their distinctive HOOT drifts across the afternoon air. GENNARO Poisonous d inosaurs, there's a liability issue without a lot of precedent. CLOSEUP of the nearly motionless Dilophosaurus. One yawns wide. GRANT (assessing) It's like a Gila monster of a cobra. It's a poison ... ELLIE Spitter! The Spitters bound off as Grant watches, transfixed. A flock of birds burst from a tree and cross the sky. Trees filter the light. ELLIE Are we dreaming all this? EXT RAPTOR PIT - DAY A big hole in the ground, covered with a think wire mesh. Suddenly, a dark claw pushes against the wire web. A SHOWER OF SPARKS. A SCREECH animals GROWL and SNARL. An animal slams its face into the mesh. SPARKS illuminate a set of RAZOR-SHARP TEETH. Muldoon stands next to the pit, carefully loading an assault rifle. Hammond comes in a hurry. Muldoon sees Hammond and puts down the rifle. He walks to Hammond, talking before he gets there. MULDOON These raptors are too damn dangerous. One of them tunneled out this morning. He ripped a boy's arm off before I could get a bullet in him. HAMMOND A bullet? Muldoon - no! Now what? I have five left? MULDOON John, they're mean as scorpions and smart as chimps. Their little fingers make them natural cage-breakers. We should terminate the raptor program. They're just too smart. Too damn smart. HAMMOND Oh balls. I will not terminate the raptors just because they're behaving normally. They're hunters. Why can't we contain them properly? Hammond starts to walk away. Muldoon follows, he's not finished at all. MULDOON John, remember back in '88, when we started to build the containment devices? We ordered cattle prods, tasers, guns that blow out electric nets. They're all too slow for these guys. If we're going to keep the raptors, I want TOW missiles and laser-guided devices. Hammond laughs warmly. He pats Muldoon on the back. HAMMOND It's just a zoo, Muldoon. A zoo. Figure out a way to contain them. And we'll sit down and have a nice long discussion about raptors - after my guests leave, okay? Hammond walks away. Muldoon stares after him, jingling keys in his hand. Muldoon lumps over to A WORKER. MULDOON Okay! Get a 'dozer, start digging round the pit. We're gonna bury some fence. And wear your rifle when you're working! INT CONTROL ROOM - AFTERNOON Hammond enters and crosses to his throne. Hammond swivels to Arnold who exhales smoke. Nedry looks over, keeps typing. HAMMOND Wh ere are they? Punch 'em up. ARNOLD They'll be by the trike's in a moment. Trike's sick again. HAMMOND How can you say it so matter-of-factly? The trike's. You casually accept it, but I never can. You know what it means when you say "by the trikes"? "By the trike's" means that they're out there by the species: triceratops horridus. It astounds me every time what I've done here. What magic, what alchemy. We turned a piece of a rock into a dinosaur. I will never be complacent about that. Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice and some chatter of the kids. EAVESDROPPING on the tour IS INTERRUPTED by a radio transmission to the control room. Arnold slides over and shuts off the tour monitoring. The picture on the video screen is now of a cargo boat at a dock. RADIO Hello, John. This is the Anne B at the dock. I'm looking at the storm patterns just south of us. Requesting permission to leave before unloading the last three food containers. Nedry looks up quickly, listening carefully. RADIO Don't want to be stuck here if this chop gets much worse. Hammond reacts with quiet dismay. Nedry quietly gets up. NEDRY Coffee anyone? He's ignored. Arnold defers to Hammond who leans to the microphone. HAMMOND Hello skipper, John Hammond, how are you tonight? I certainly don't want to imperil anyone. But can you give us one more container of food? Then we'll feel comfortable is the storm delays your return. Could you help us out here? Of course, if it looks too choppy just go, but you'd be doing us a big favor. RADIO Well ... we'll do our best, sir. We'll get one more container off. How's that? Hammond thanks him and signs off. Arnold looks at the darkening clouds. INT/EXT CRUISERS, FOURTH TOUR STOP - LATE AFTERNOON The cars twist through dense vegetation with a GRINDING of gears. The first car comes to a jerky stop. There is a huge TRICERATOPS lying on its side, moving very slowly, breathing laboriously. HARDING, the tall, balding park vet, kneels on the ground. He peers into the animal's mouth with a large flashlight. Before the second car can stop completely, Grant leaps out, races to the trike. Regis tries to restrain the kids but they chase Grant and Ellie. Grant joins Harding on the ground. The trike lets out a low MOAN. She's too sick to move. Ellie and Lex squat by the animal. LEX I feel so sorry for her. She's so sick. VET We don't know what's wrong with Freda. Every six we eks she gets like this. REGIS Oh, she'll be up and around in no time. After a big night, I feel the same way. Grant very gently opens the Trike's mouth. GRANT Poor girl. What's the matter? Ellie, look at this. A dark purple tongue droops limply from her mouth. Ellie shines the light on it, illuminating silvery blisters. Gennaro turns away. ELLIE Microvesicles. Interesting. Grant scratches one of the blisters with his ball-point pen. It oozes. The kids share a grossed-out look. LEX Doesn't she have a mommy and a daddy? HARDING We make these dinosaurs in the lab, sweetheart. But they do form attachments. Freda has a little one that follows her around, thinks Freda's his mom. Grant starts to look around. ELLIE What does sh e eat? Where does she feed? HARDING Animal this size takes in a minimum of six hundred pounds of plants a day. We truck in hay and meadow grasses seven times a day. That's all she touches. Grant studies the nearby grass and bushes. Timmy quietly follows Grant. Ellie lifts a huge eyelid on the triceratops. A runny eye just stares. Grant comes up triumphantly with a bouquet of weeds clutched in his hand. These weeds have little purple berries. Ellie looks over. ELLIE West Indian Lilacs! GRANT These'd give anybody a stomachache. HARDING I'm telling you, the animals don't eat don't eat that stuff. Regis keeps a babysitter's eye on the kids. Timmy comes up with a handful of smooth stones. He approaches Grant shyly. TIMMY Dr. Grant, sir? How 'bout these? There' s lots of little piles of these? Grant fingers one distractedly, then suddenly comes to attention. GRANT Hey, Ellie take a look at his. Good work, Timmy. Ellie gets up, brushes herself off, comes over and examines the stone. ELLIE Extremely smooth. Purple stains, could be those lilac berries. She and Grant smile and each other and nod. Gennaro is curious. HARDING I don't get it. GRANT Looks like your trike swallows stones to help her digest her food. Walking around, she crushes berries against the stones. And even just a little crushed berry is eventually enough, ELLIE

abandons

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

correctly

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

bathe

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

viewpoint

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

darkened

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

undoing

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

dawn

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

fall

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

dozes

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

clenched

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

entreat

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

stole

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

happy

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

chained

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

divan

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

teeth

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

physical

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

wo

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

did

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

- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

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- NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute! INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then: LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF (Soothing her) Lisa, simmer down -- will you? LISA (Something starts her up again) You can't fit in here -- I can't fit in there. According to you, people should be born, live an die on the same -- JEFF (Loud, sharp) Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly: JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C-54, at fifteen thousand feet, at twenty below zero? INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says: LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She doesn't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle -- and those nylons and six-ounce lingerie -- LISA (Quickly) Three. JEFF Well, they'd be very stylish in Finland -- just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience: JEFF Huh? Try and find a raincoat in Brazil. Even when it isn't raining (Squints at her) Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you don't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. (A thoughtful pause) Let's face it, Lisa... you aren't made for that kind of a life. Few people are. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday -- and I would have awakened to a rude disillusionment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you! INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says: LISA (Wearily) No. I don't particularly want that. (She turns, faces him) So that's it. You won't stay here -- I can't go with you. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You don't think either one of us could ever change? JEFF Right now, it doesn't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA (Simply) I'm in love with you. I don't care what you do for a living. Somehow I would just like to be part of it. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent. INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it -- is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA (Looks at Jeff) Not quite -- it seems. (Tosses a stole over her shoulder) Goodbye, Jeff. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean "goodnight." LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa! INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half-opened door. JEFF Can't we just sort of keep things status quo? LISA Without any future? INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well -- when'll I see you again? INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -- (She begins smiling) -- tomorrow night. Continues smiling as she close the door softly behind her. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON (Filter) Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is "everything." Now what time does my plane leave Tuesday? GUNNISON (Unhappy) Jeff -- JEFF (Won't give him time to argue) I don't care where it goes -- just as long as I'm on it. GUNNISON (Wearily, after pause) Okay. Indo-China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog: FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to: EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase -- the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. QUICK FADE OUT: QUICK FADE IN: INSERT The watch now reads 2:35. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business-like manner. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song-writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary-eyed and a little sick. INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song-writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance. EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three- quarter length coat over her evening dress. She is inside, with the door two-thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street. EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment. INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again. EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment. FADE OUT: FADE IN: INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face. FADE OUT: FADE IN: EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid-morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song-writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF (Between clenched teeth) How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA (Massaging harder) What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example -- Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Isn't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA (Interested in the scandal) He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA (So?) Isn't he a salesman? JEFF Now what could he sell at three in the morning? STELLA (Shrugs) Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away -- the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA (Looks at him) But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA (Putting oil and power away) What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA (stops) In this heat? (Turns, looks over his shoulder) They're up now. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA (A startled whisper) What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF (Quietly) The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF (Sharply) Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF (Still peering toward window) It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing. INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house-robe. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying: STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF (Grunts) Uh-huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And don't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh-huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh-huh. Uh-huh. Great conversationalist. Jeff swings half-way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat-stand near the door. JEFF (Goes on quickly) Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says: STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen. EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again. EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory. INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long-focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view-finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half-turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper- wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again. EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch. INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen; then return to the living room. His brow knits a little as we: FADE OUT: FADE IN: EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song-writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle-aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one-time siffleuse, her call to the dog is clarion and melodic. EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly-weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks: LISA How far does a girl have to go -- before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she doesn't have to go anywhere. She just has to "be". EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, "ain't I?" -- Pay attention to me. INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Don't

gushing,--a

How many times the word 'gushing,--a' appears in the text?

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

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. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

smoky

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

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. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

sheet

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

loudly

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

fine

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

vacation

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

black

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

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. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

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. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

humping

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

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. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

cloth

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

kneels

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

photo

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

remembers

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

hard

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

legs

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

chills

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

. sit down. get your chair. Dorothy brings a small chair over from the wall and sits down. She adjusts her robe. FRANK (studying her) . spread your legs. Dorothy slowly spreads her legs. She can see Jeffrey staring out of the darkness of the closet at her. FRANK wider. She opens her legs wider. Frank looks at her crotch and drinks his bourbon. He stares at the floor for a moment, then slowly looks back at Dorothy, her body - her crotch. Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his belt, where he has a small canister and a mask. He opens a valve on the canister and places the mask over his nose and mouth. The canister is filled with helium, which makes Frank's voice very high and strange sounding. The result is frightening. FRANK (high voice) . mommy. Dorothy jumps. She keeps looking at the ceiling. FRANK (continuing, with high voice) . MOMMY!. DOROTHY (frightened) . mommy's here. FRANK (high voice) Baby wants to fuck. Then, Frank's voice goes to normal. FRANK (normal voice, but loud - like an army order to himself) GET READY TO FUCK! Frank goes to Dorothy and kneels down in front of her. He takes one more gasp of helium. FRANK (high voice) Baby wants blue velvet. Dorothy opens her robe and gives a part of the robe to Frank. DOROTHY (whispering) Okay. Frank slowly moves Frank slowly moves his mouth to the robe and runs his lips along the texture of the velvet. His hands rub the velvet and feel Dorothy's body underneath. His hands start feeling her breasts as he sucks and bites the velvet robe. Dorothy is very frightened but she is getting hot in spite of her fear. Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He warns her. FRANK Don't look at me! He begins stuffing part of the robe into her mouth. Then, he pushes her arms back and she keeps them back, letting Frank have his way. Frank sucks and bites the velvet coming out of her mouth, while he pinches and feels her breasts in a strange, compulsive, timidly sickening way. Dorothy is moaning. Frank is breathing very heavily. He feels her crotch. FRANK Don't look at me!!! (heavy breathing) Daddy's home. He starts stuffing the robe in his mouth now and he gets on top of Dorothy. He starts humping her and pulling her nude body up and down him. Faster and faster, then he has a climax in his pants. Dorothy's head is falling back. She can see Jeffrey blurred in the distance - in the closet. Cautiously, she looks sideways at Frank. FRANK (screaming) Don't look at me!!! He slugs her in the face. His nose is running and he's stifling sobs from deep within him. On his hands and knees, he moves away. The robe pulls out of his mouth. His breathing is even heavier now. He stands and begins to move around the apartment. He goes to a wall, turns off the lights, then turns and walks into the bathroom, all the while breathing big, heavy breaths, trying to stop the crying. Dorothy moans softly. It gets very quiet and still for a moment. Then, Jeffrey hears Frank with his high helium voice talking to himself in the bathroom. The high, strange sound reverberates in the distance. Jeffrey can't make it out - soon, he hears Frank's high laughing. Frank comes back into the living room. The mask is around his face. All his breathing - every sound is high . He laughs a little and crosses the darkened room to the door. FRANK Stay alive baby. See you next Christmas! Frank leaves and shuts the door. The apartment is silent except for Dorothy's moans. Jeffrey is stunned. He doesn't move. He watches Dorothy in the half-light. She rolls over and starts crying. The crying is deep and genuine. Slowly, Jeffrey emerges from the closet and goes to her. He bends down and touches her. She flinches and turns to see him. She turns back sobbing. He tries to get her up. JEFFREY Why don't you come lie down. Come on, I'll help you. She struggles up with Jeffrey's help and he takes her over to the bed. She falls down on her side, turned toward the wall. He covers her with the sheet. DOROTHY Don't. (referring to the sheet) I don't like that. What do you want? JEFFREY Nothing. Are you alright? DOROTHY Sure I'm alright. (she starts crying again) JEFFREY I'll go then. He starts to put on his underwear. They're inside out. He tries to turn them around. DOROTHY Don? JEFFREY No. DOROTHY Don. Hold me. I'm scared. Hold me. Please. Jeffrey turns to her. He studies her. He reaches out and takes her shoulders. He moves down and holds her. DOROTHY (whispering) Thank you. honey. JEFFREY (whispering) It's okay. It's okay. They lie together for a long silent moment. DOROTHY Do you like the way I feel? JEFFREY (hesitates) Yes. DOROTHY See my breasts? . See? Jeffrey looks. JEFFREY Yes. DOROTHY See my nipples? JEFFREY Yes. DOROTHY (whispering) You can kiss them if you want. Fell them . They're getting hard. Jeffrey starts to move closer. Dorothy closes her eyes. DOROTHY (continuing) Go ahead. I don't mind. Jeffrey can't help himself. He licks and sucks her nipples and feels her breasts. They both are getting very hot. DOROTHY Feel me. Jeffrey is all over her now. Dorothy suddenly seems to recognize him. DOROTHY You can hit me, if you want to. JEFFREY No. please. I won't. Dorothy arches back and whining she throws her head back hard against the wall. JEFFREY Stop it! She moves and won't let him feel her anymore. She holds his hands away. DOROTHY (whispering) Do you like me? JEFFREY (whispering) Yes, I like you. DOROTHY (whispering) You can be my special friend and come and put that in me. They start making love. Suddenly, Dorothy starts crying. JEFFREY What's the matter? Suddenly Dorothy slaps Jeffrey in the face. very hard. DOROTHY Get off me. Jeffrey gets off her, pressing his hand to his face. Dorothy goes into the bathroom crying all the way. Jeffrey sits, confused. Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of horror. He rushes into the bathroom to see what is wrong. 92. INT. DOROTHY'S BATHROOM - NIGHT She is just flushing something down the toilet. The water SOUND rushes. He turns to her. She is trembling and in a state of shock. DOROTHY I made it go down the toilet. JEFFREY What? He looks in the swirling water. It looks like an ear revolving around and around then whatever it is disappears. DOROTHY I made it go down the toilet. Jeffrey looks up. he sees written with a bar of soap the words "look down" on the mirror. He looks down into the sink. At the bottom he sees a small clot of blood and a smear of fresher blood. Jeffrey suddenly remembers mentally Frank's high helium voice reverberating in the bathroom. 93. INT. DOROTHY'S BATHROOM - NIGHT FLASHBACK Frank in bathroom. 94. INT. DOROTHY'S APARTMENT - NIGHT FLASHBACK Frank at door saying "see you next Christmas." 95. INT. DOROTHY'S BATHROOM - NIGHT JEFFREY (inner voice) Next Christmas. Is he Santa Claus who has left a present for Dorothy? What was it? An ear? Another ear?!! (out loud, to Dorothy) What was it? DOROTHY (strangely - extremely frightened now that Jeffrey may have left it) Do you know? JEFFREY No. DOROTHY (breathing heavily, strangely) You don't? JEFFREY No. What is happening? DOROTHY Maybe you don't know. I know you though. You're Jeffrey Beaumont and I know where you live and I know ways to get you and I know ways to kill you. JEFFREY Please don't talk like that. You're upset. I'm not helping you. I'm sorry for what I did. I better go. DOROTHY Go then. I can't let you put it in me now but I want you. I like you. JEFFREY Then don't talk about killing. DOROTHY Did I say that?. I didn't mean it. or did I? (laughs) Sometimes I think it would be fun. (strange smile) Go ahead, you better leave now. I can't open myself to you now. I'll tell you a little secret. (she leans close) I want to die. JEFFREY Don't say that. DOROTHY It's a secret so don't tell anyone. Some day I'll show you where. I've gotta go to sleep now. JEFFREY (frightened by her craziness) O.K. He takes another look at the blood in the bottom of the sink. He takes another look at the beautiful dark troubled eyes of Dorothy Vallens, and turns, goes through the hall to the living room. He crosses slowly to the door, suddenly he turns back and enters the hallway going down to the bathroom. He stops and looks at Dorothy who is turned away from him. She stares into the sink. Jeffrey notices that a square of fabric has been cut from the bottom of her blue velvet robe JEFFREY I'm leaving now. She is whispering something to herself. DOROTHY (very faint whisper) Help me. help me. please help me. Jeffrey doesn't know what he can do. 96. INT. DOROTHY'S APARTMENT - NIGHT Jeffrey turns back, goes through the living room. He looks around and sees the empty bourbon glass of Frank's. Suddenly he remembers the photograph that Dorothy hid. He picks up the pillow and sees a picture of a smiling man and a small boy standing next to him wearing a pointed hat with a propeller. He turns the photo over and finds an old marriage license. It reads: Dorothy Vallens to Don. JEFFREY (V.O.) Don. Oh my God. He hides the photo again. He sees Dorothy's telephone. He memorizes the number - moving his lips with each digit. He goes to the front door and opens it quietly. 97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT He looks out into the hall. It's empty. 97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT He quickly goes to the back stairway and down the stairs. These steps are cement and his feet make echoing sounds which seem very loud. He goes through a door marked "EXIT". 98. EXT. LINCOLN STREET - NIGHT . and comes out, crosses a lawn and goes out onto the sidewalk. He walks along taking in deep cleansing breaths. He looks at his watch. 2:30. He feels so confused, exhilarated, so uneasy. He secretly worries about what he's gotten into. 99. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a chair, staring. JEFFREY (startled) God. you scared me. MRS. BEAUMONT Is something wrong? What's happened to your face? JEFFREY Nothing. I'm fine. MRS. BEAUMONT You can't just stay out half the night and carry on, Jeffrey. There's got to be some order, Jeffrey. I thought it would have been nice to call your father when you got home but now it is much too late. FADE TO: 100. INT. JEFFREY'S BEDROOM - DAY Jeffrey gets out of bed and goes to the phone. He dials a number. JEFFREY Louise Wertham, please. okay. (waits) Louise?. Jeffrey. Hi. What's up? (pause) MARRIED?! Good night! Louise! Are you kidding? (long pause) Well, Louise, I wish you a lot of luck and if things don't work out, I think you should go into comedy. Jeffrey hangs up the phone hard. He shakes his head. 101. INT. BEAUMONTS' HARDWARE STORE - DAY Jeffrey's drinking a cup of coffee behind the counter in the store. He thinks. He takes another drink of coffee and sets the cup down. He clasps his hands behind his back and begins pacing up and down. JEFFREY (to himself, out loud) How can I help her? I can't tell her to go to Detective Williams. She'll think I'm a policeman. She has my address. She can go there. if she has to. I'll tell her. and her. and she thinks I'm Don. her husband? Where the hell is Don? - maybe he died. Jeffrey dials the phone. JEFFREY Hello?. Mrs. Williams?. This is Jeffrey Beaumont. Fine. Okay. Is Sandy there? Okay. Hi Sandy. Can you talk? He is?. Well, I guess I'll talk to you later on. It went okay. I'll tell you about it. Dinner?. Tomorrow night? Seven o'clock, yeah, sounds good. Okay. he's still in the hospital. Okay, yeah. See you tomorrow. thanks. 102. INT. HOSPITAL LABORATORY - DAY The searching, mysterious MUSIC plays over while, A DOCTOR is looking at various blood samples under a powerful microscope. Various sophisticated gadgets are seen in CLOSEUPS. JEFFREY (V.O.) This is what my father's disease looks like? DR. GYNDE Yes. The BLOOD is seen in CLOSEUP. Cells are moving. The Doctor makes a change in magnification. The cells are huge - then, even bigger. They are so big we can hear them moving. 103. EXT. "SLOW CLUB" - NIGHT The parking lot is half-full. A strong wind is blowing trash around. Jeffrey parks his car. 104. INT. "SLOW CLUB" - NIGHT . and enters the club. He speaks to the Maitre d'. JEFFREY A table in back, please. MAITRE D' Certainly Dorothy is singing her opening song as the Maitre d' seats Jeffrey. JEFFREY I'll have an ice-cold Heineken. MAITRE D' One Heineken, certainly, sir. Jeffrey surveys the place after the Maitre d' leaves. It is very dark and smoky inside. He has trouble seeing, but suddenly he spots Frank sitting with some other GUYS watching Dorothy sing. They are sitting two tables away. Frank is totally captivated by Dorothy's singing and is very serious- looking. He looks right up to her eyes. In his hand he works a small piece of blue velvet cloth with his fingers. Again her first number, "BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to Frank. When it is over Frank continues watching Dorothy and everyone else applauds loudly. Jeffrey drinks up his Heineken and goes back outside. EXT. "SLOW CLUB" - NIGHT He looks around at all the cars but none stand out as Frank's. He gets into his car and pulls out across the street, re-parks the car and waits. DISSOLVE TO: 106. EXT. "SLOW CLUB" - NIGHT Traffic roars past Jeffrey and in the distance several people exit the SLOW CLUB. Among them are Frank and his friends. They get into a black Ford Fairlane and drive out of the parking lot - down the highway. Jeffrey starts his engine and moves out after them. He has to gun the car up to sixty-five to catch up with them. 107. EXT. CITY STREETS - NIGHT The mysterious MUSIC plays. He follows them to an intersection where they turn off to the right. He waits at a light right behind them. Inside they are lighting cigarettes. The light turns green and Frank takes off. Jeffrey follows them through a dark area down by the docks. He follows them up a narrow street through dark factories. 108. EXT. FRONT STREET - NIGHT Dark, low MUSIC now. Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his lights and engine. He watches Frank and his friends enter an old apartment building next to a bookbinding factory. They disappear within. The electric lines above buzz loudly. Jeffrey gets out of his car and walks up the deserted street. He reaches Frank's car which is making popping and clicking NOISES as it cools down. He looks at the license plates - walks a few paces ahead and then writes it down in his notebook. He continues on to the apartment building. 109. INT. LOBBY - FRANK'S BUILDING - NIGHT Inside he looks at the names on the mailboxes. He sees a name - Frank Booth. The name gives him the chills. The apartment number is 26. In the distance, he hears footsteps. He quickly leaves. 110. EXT. FRONT STREET - NIGHT . and crosses the street down to his car. He gets in and waits. Frank comes out of the building and crosses to his car. JEFFREY (out loud to himself) I'll bet I know where you're going. He follows Frank as he pulls out. DISSOLVE TO: 111. EXT. DINER PARKING LOT - NIGHT Jeffrey discreetly parks just after Frank kills the engine on his car. He watches Frank leave the parking lot. 112. EXT. VACANT FIELD - NIGHT He follows Frank through the same vacant lot where he found the ear. He seems to use the lot as a secret short cut to Dorothy's apartment. 113. EXT. DINER PARKING LOT - NIGHT Jeffrey goes back to his car to wait. DISSOLVE TO: 114. EXT. DINER PARKING LOT - NIGHT A storm is building. There is a roar of thunder as Frank slams his car door as he gets in. His mouth twists into a smile as he guns the engine and leaves. Jeffrey waits till Frank is safely gone. JEFFREY (thinking out loud) I shouldn't go in. I shouldn't. but I'm too curious. and I have to try to help her. He then gets out of his car as the wind is building. 115. EXT. VACANT FIELD - NIGHT . and runs through the vacant lot. 116. EXT. APARTMENT BUILDING - NIGHT . to Dorothy's building. 117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT He goes up to the seventh floor and knocks twice on 710. A moment passes, then the door flies open. Dorothy looks as if she was expecting Frank to be coming back. Dorothy LOOKS BAD. JEFFREY Hi. can I come in? DOROTHY (looking around the hallway) Yeah. hurry up though. They go inside. 118. INT. DOROTHY'S APARTMENT - NIGHT JEFFREY Are you alright? Dorothy breaks down crying. DOROTHY No. I'm not. Jeffrey goes to her. DOROTHY Why are you here. whatiya want? JEFFREY . I. uh. DOROTHY (still crying) I looked for you in my closet tonight. (a little laugh) It's crazy, I don't know where you came from but. I like you. JEFFREY That's not crazy. I like you too. Dorothy looks up. They stare at each other for some time. DOROTHY I liked being with you last night. JEFFREY . same here. There is a loud knocking on the door. DOROTHY (she starts to stagger) Oh shit. JEFFREY (frightened) Frank? .can you stand up? DOROTHY I'm alright. go hide. This won't take long. Be quiet. Jeffrey gets in the closet and Dorothy closes the door. She holds her head collecting her fragile self. Dorothy goes to the door and opens it. It's the Man with the Yellow Sports Coat - tonight he's wearing a purple sports coat and light blue double knit pants. His eyes are glazed and his face is broken out in a sweat. YELLOW MAN Frank gone? DOROTHY Yeah. but get outta here. He's comin' back. YELLOW MAN Bull. DOROTHY Alright, suit yourself. YELLOW MAN He's comin' back?. What for? DOROTHY (shaking) 'Cause he's comin' back, that's what for. Frank's got you really loaded tonight. YELLOW MAN (getting upset) Yeah, maybe so. Frank's got me. and you. and really it's all thanks to Don. isn't it. remember that. Your husband was the one who started fucking my mind with drugs. DOROTHY Oh he forced you, huh? YELLOW MAN He's the reformed dealer though who wanted to turn himself in. he's the one that caused Frank to come and Frank's fucking us real good. I just feel so horny. I'm supposed to be here watching you why can't I be here fucking you. Listen. I know his cock's the size of a pin - let me give you the real thing. let me wet my whistle, baby. DOROTHY (cool, but real mad) No way. get out. I'm gonna tell Frank. I'm gonna tell him what you said. YELLOW MAN Okay, I'm goin'. You'll see. I'll get you. Dorothy kicks the door after he closes it, then she chains it. Jeffrey comes out of the closet. JEFFREY (talking softly) Nice guy. Who's he? DOROTHY Who's it, you mean. SUDDENLY, Dorothy starts to shake and cry. Jeffrey grabs her and shakes her and holds her tight to him. She starts sobbing again. DOROTHY (continuing) Oh God. Don!!! Why can't I just die. JEFFREY (quietly, soothing her) There you go again. stop saying that. You can make it. DOROTHY I can't. I can't. You think you know so much. JEFFREY Take it easy. What's goin' on anyway?. Why are you in so much trouble? Dorothy is sobbing and Jeffrey is holding her. There is a long silence and she calms down. DOROTHY (whispering) I. don't. okay. Just don't. just be with me. (now very strangely) Oh God. Come with me. Who are you. Come up here. Dorothy takes Jeffrey through the kitchen and out the back. 119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT . to a back stairway leading to the roof. 120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT The storm is closer and the dark clouds move violently in front of a full moon. The wind continues to moan. They move to the roof top and Dorothy leads Jeffrey through the chimneys to the edge of the building. A very sad forlorn version of "Somewhere over the Rainbow" - creeps through the wind. DOROTHY (as she stares down) Look. JEFFREY (turning to her quickly) No. DOROTHY (continuing to look down, her eyes widening - she whispers) Falling. JEFFREY No. Please, Dorothy. Why are you in so much trouble? He moves closer to her. JEFFREY (continuing) Who is Don? DOROTHY (very crazy and angry) Don?. Are you in with them? JEFFREY (whispering) No. But you're in very big trouble. DOROTHY Why are you so interested? Why do you keep asking me? JEFFREY I came back to help you. You said do I let girls sneak into my house. You know where I live. if you need to. come to where I live. O.K.? DOROTHY Who are you? Maybe I'll need to. you like me, huh? JEFFREY Yes. DOROTHY (whispering) . or do you just want me? I'm going to let you enter me now. JEFFREY No. I should go. DOROTHY Please. please stay. She makes him kiss her. he really likes it. Once again, Jeffrey and Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy cries out suddenly and bangs her head hard again and again against the roof. JEFFREY Why Dorothy? We move very close to Jeffrey's ear as Dorothy's lips come up and whisper into it. DOROTHY Don? I have to make it hurt. I want there to be nothing again. Don!!! (as she slams her head again and again) She reaches up and clutches Jeffrey then pulls him down with a feverish kiss. Lightening cracks above them and the wind howls. FADE TO WHITE: FADE DOWN TO: 121. EXT. LINCOLN STREET - NIGHT Jeffrey leaves the pool of light from a street light and walks into darkness. He continues down the sidewalk. He looks up at the starry sky. The stars are so far away - the feeling is cold and lonely. DISSOLVE TO: 121A. Darkness: There are bell tones sounding, and as each one sounds pin points of light appear on Mr. Beaumonts distorted dream face. He is trying to speak. He's trying to say "Jeffrey." 121B. Another dark image appears. A robin sits in a tree at night. Very close. There is a slow low reverberating chirping sound. 121C. Now Dorothy's apartment building at night. A very low angle looking up to the roof. Suddenly a pinpoint of red appears coming toward us from the roof. It flies toward us very fast growing larger until we see it is a red high-heeled shoe. As it fills the screen it becomes red lips of Dorothy's which open into a scream. 121D. Jeffrey wakes in his room - terrified. 122. INT. BEAUMONTS' LIVING ROOM - NIGHT Jeffrey is talking with Aunt Barbara in the semi-dark living room. JEFFREY Will you tell Mom when she gets home from the hospital that I've gone to dinner at Sandy Williams' house? AUNT BARBARA Okay honey. that sounds nice. Jeffrey. I think you've got termites in the house. JEFFREY Oh yeah?. Have you seen any? AUNT BARBARA I've seen a few. JEFFREY Well, I haven't seen any. I wouldn't worry about it. Look. I better go. AUNT BARBARA Okay honey. Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She moves into a dark area and taps. Something falls. She reaches down. In EXTREME CLOSEUP we see a termite walking by her shoe on the thick carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the termite and bring it up in front of her thick glasses for a look. She looks at the termite, then looks back at the walls. We GLIDE ALONG the dark walls of the house. CUT TO: 123. INT. WILLIAMS' DINING ROOM - NIGHT They all sit around the dining room table. They have their heads bowed in a prayer before dinner. SANDY We thank you in the name of the Father, the Son, and the Holy Ghost. Amen. They start passing food around. MIKE Like I was saying. if you toss the ball like this, with your fingers just down here, that thing'll spin like a beauty. real straight. DETECTIVE WILLIAMS (teasing him) Yeah? Then how come nobody caught anything last week?. MIKE (not laughing) 'Cause we had a bad day. DETECTIVE WILLIAMS You play any sports, Jeffrey? JEFFREY No. MIKE Looks like you'd make a good runner. JEFFREY Well. MIKE I mean, you don't exactly have the build for a football. I mean. no offense. Jeffrey looks around and sees Sandy looking at him. She then gives a stern look to Mike. Then Mike and Sandy both look at Jeffrey. JEFFREY (not offended) No. you're right. MIKE I mean. some guys play anyway but they usually get slaughtered. JEFFREY Yeah, well I never wanted to get slaughtered much. MIKE (not getting any humor) Well, most guys don't. I mean that's the point. You all mind if I take my vitamins? MRS. WILLIAMS No, Mike. but there are vitamins in the food, you know. Everyone laughs. MIKE Yeah, but I gotta supplement that. I gotta take a bunch of zinc too. The body is like a machine. EVERYTHING has got to stay in perfect tune for perfect health. That's what I'm interested in. Sandy looks at Mike. MIKE Oh yeah. and a few other things. Everyone laughs again. SANDY We've got some Heinekens. DETECTIVE WILLIAMS Yeah. I like Bud myself. SANDY I'll get it. Mike, whatiya want? MIKE I guess another glass of water. Sandy and Jeffrey share a look. DISSOLVE TO: 124. INT. WILLIAMS' BASEMENT - NIGHT Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting on a chair nearby. The television set is on. MRS. WILLIAMS (calling downstairs) Who wants dessert? It's blueberry pie. and ice cream. Jeffrey and Sandy say "yes." MIKE None for me, thanks. Jeffrey looks over at Sandy. Mike sees this. There is more tension growing. MIKE (referring to T.V.) What are watchin' this junk for? SANDY You can change it if you want to. MIKE I don't know why we have to watch T.V. SANDY Mike. We don't have to watch it. Come on. Mrs. Williams comes downstairs carrying a tray with dessert. MRS. WILLIAMS Here you are. Would anyone like coffee? JEFFREY That sounds great! MRS. WILLIAMS Anyone else?. Alright Jeffrey, just a minute. Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up. MIKE I'll be right back. He leaves as if he's going to go upstairs. Once around the corner he stops and listens to see what Jeffery and Sandy will say to one another. SANDY Well, how did it go?. What happened? JEFFREY Well. I've found out some things. nothing really for certain. There are some strange people involved. SANDY What did you see? JEFFREY Well. (looking around, feeling funny) Maybe we should discuss this somewhere else. you know what I mean? Just then, Mrs. Williams starts down with the coffee for Jeffrey. She sees Mike at the bottom of the stairs. This seems strange to her. MRS. WILLIAMS Mike?. Are you alright? Mike starts upstairs. MIKE (mumbling) Yes. Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams and Mike pass on the stairs and Mrs. Williams enters the basement. She throws Sandy a concerned look. Just then, Mike calls downstairs. MIKE Sandy?. Could I talk to you a minute? SANDY (calling up) Sure. just a sec. (to Jeffrey) Excuse me. 125. INT. WILLIAMS' LIVING ROOM - NIGHT Upstairs, Mike is by the front door. MIKE Come on out a minute, okay? SANDY Okay. They leave. 125A. INT. WILLIAMS' BASEMENT - NIGHT Downstairs Mrs. Williams picks up some dishes. MRS. WILLIAMS Please excuse me a moment, Jeffrey, and I'll get to the dishes. JEFFREY Sure thing. please don't worry about me. Can I help you with the dishes? MRS. WILLIAMS Nice of you to offer, Jeffrey, but certainly not. just relax and enjoy your coffee. I'm sure Sandy will be back soon. Detective Williams comes to the top of the stairs and calls down. DETECTIVE WILLIAMS Jeffrey? JEFFREY Yes? DETECTIVE WILLIAMS If you want to come up a minute, I'll show you some pictures. 126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT Jeffrey enters Detective Williams' study. DETECTIVE WILLIAMS (continuing) Take a look at these. These are the photos of the vacant lot where you found the ear. You might find them interesting. Jeffrey begins going through the pictures. They are

limbs

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

shows

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

passions

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

messiah

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

trapper

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

addressed

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

scriptures

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

suffers

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

ghostly

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

fluid

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

be

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

ponderable

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

two

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

said

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

meridian

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

muttering

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

water

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

emblem

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

intangible

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

remarks

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

1, the Holy Ghost is a God within a God--"Jesus being full of the Holy Ghost." 20. In Acts xxi. 11, the Holy Ghost is a being of the masculine or feminine gender--"Thus saith the Holy Ghost," etc. 21. In John i. 32, the Holy Ghost is of the neuter gender--"It (the Holy Ghost) abode upon him." 22. In Matt. i. 18, the Holy Ghost becomes a vicarious agent in the procreation of another God; that is, this third member of the Trinity aids the first member (the Father) in the creation or generation of the second member of the triad of bachelor Gods--the Word, or Savior, or Son of God. Such are the ever-shifting scenes presented in the Scripture panorama of the Holy Ghost. Surpassing the fabulous changes of some of the more ancient demigods, the Christian Holy Ghost undergoes (as is shown by the above-quoted texts) a perpetual metathesis or metamorphosis--being variously presented on different occasions as a personal and rational being, a dove, a spirit, an inanimate object, a God, the wind or a wind, an ointment, the breath or a breath, cloven tongue of fire, a bird, or some other flying recumbent animal, a revelator or divine messenger, a medium or element for baptism, an intelligent, speaking being, a lifeless, bodiless, sexless being, a measurable fluid substance, a being possessing a body, ponderable, unconscious substance, a God dwelling within a God, and, finally--though really first in order--the author or agent of the incarnation of the second God in the Trinity (Jesus Christ). That many of these fabulous conceptions were drawn from mythological sources will be made manifest by the following facts of history:-- 1. _The Holy Ghost in the shape of a bird, a dove or a pigeon._ This is proven to be a very ancient pagan tradition, as it is found incorporated in several of the oriental religious systems. In ancient India, whose prolific spiritual fancies constitute the primary parentage of nearly all the doctrines, dogmas and superstitions found incorporated in the Christian Scriptures, a dove was uniformly the emblem of the Holy Spirit, or Spirit of God. Confirmatory of this statement, we find the declaration in the Anacalypsis, that a "dove stood for or represented a third member of the Trinity, and was the regenerator or regeneratory power." This meets the Christian idea of "regeneration and renewing of the Holy Ghost." (Titus iii. 5.) A person being baptized under the Brahminical theocracy was said to be "regenerated and born again," or, as the above-quoted writer expresses it, "They were born into the spirit, or the spirit into them"--that is, the "dove into or upon them," (As vide the case of the Christian's "Holy Ghost descending in bodily shape like a dove," and alighting on Christ's head at baptism, as related in Luke iii. 22.) In ancient Rome a dove or pigeon was the emblem of the female procreative energy, and frequently a legendary spirit, the accompaniment of Venus. And hence, as a writer remarks, "It is very appropriately represented as descending at baptism in the character of the third member of the Trinity." The same writer tells us, "The dove fills the Grecian oracles with their spirit and power." We find the dove, also, in the romantic eclogues of ancient Syria. In the time-chiseled Syrian temple of Hierapolis, Semiramis is represented with a dove on her head, thus constituting the prototype of the dove on the head of the Christian Messiah at baptism. And a dove was in more than one of the ancient religious systems--"The Spirit of God (Holy Ghost) moving on the face of the waters" at creation, as implied in Gen. i. 2, though a pigeon, was often indiscriminately substituted. In Howe's "Ancient Mysteries" it is related that "in St. Paul's Cathedral, at the feast of Whitsuntide, the descent of the Holy Ghost was performed by a white pigeon being let fly out of a hole in the midst of the roof of the great aisle." The dove and the pigeon, being but slight variations of the same species of the feathered tribe, were used indiscriminately. 2. As evinced above, the Holy Ghost was the third member of the Trinity in several of the oriental systems. Father, Son and Holy Ghost, or Father, Word and Holy Ghost (1 John v. 7), are familiar Christian terms to express the divine triad, which shows the Holy Ghost to be the acknowledged third member of the Christian Trinity. And, as already suggested, the same is true of the more ancient systems. "The Holy Spirit and the Evil Spirit were, each in their turn (says Mr. Higgins), third member of the Trinity." We might, if space would allow, draw largely upon the ancient defunct systems in proof of this statement. "In these triads (says Mr. Hillell) the third member, as might be supposed, was not of equal rank with the other two." And hence, in the Theban Trinity, Khonso was inferior to Arion and Mant. In the Hindoo triad, Siva was subordinate to Brahma and Vishnu. And a score of similar examples might be adduced from the fancy-constructed trinities of other and older oriental religious systems (but for the inflexible rule of brevity which forbids their presentation here), with all of which the more modern Holy Ghost conception of the Christian world is an exact correspondence, as this imaginary, fabulous being is less conspicuous than and has always stood third in rank with the Father and second to the Son, alias the Word, and is now seldom addressed in practical Christian devotion; and thus the analogy is complete. Mr. Maurice says, "This notion of a third person in the Deity (the Holy Ghost) was diffused among all the nations of the earth." (See Ind. Antiq. vol. iv. p. 75a) And Mr. Worseley, in his "Voyage" (vol. i. p. 259), avers this doctrine to be "of very great antiquity, and generally received by all the Gothic and Celtic nations." 3. The Holy Ghost was the Holy Breath which, in the Hindoo traditions, moved on the face of the waters at creation, and imparted life and vitality into everything created. A similar conception is recognized in the Christian Scriptures. In Psalms xxxiii. 6, we read, "By the Word of the Lord were the heavens made, and all the host of them by the breath of his mouth." Here is the Brahminical conception, square out, of the act of creation by the Divine Breath, which is the Holy Ghost, the same, also, which was breathed into Adam, by which he became "a living soul." M. Dubois observes, "The Prana, or principle of life, of the Hindoos is the breath of life by which the Creator (Brahma) animates the clay, and man became a living soul." (Page 293.) 4. Holy Ghost, Holy Breath and Holy Wind appear to have been synonymous and convertible terms for the living vocal emanations from the mouth of the Supreme God, as memorialized in several of the pagan traditions. The last term (Holy Wind) is suggested by "the mighty rushing wind from heaven" which filled the house, or church, on the day of Pentecost. (See Acts ii. 2.) Several of the old religious systems recognize "the Holy Wind" as a term for the Holy Ghost. The doxology (reported by a missionary) in the religious service of the Syrian worship runs thus:-- "Praise to the Holy Spiritual Wind, which is the Holy Ghost; Praise to the three persons which are one true God." Some writers maintain that the Hebrew _Ruk Aliem._ translated "Spirit of God" (Gen. i. 2) in our version, should read, "Wind of the Gods." And we find that the word _pneuma_ of our Greek New Testament, is sometimes translated "Ghost" and sometimes "Wind," as best suited the fancy of the translators. In John iii. 5, we find the word Spirit, and in verse eight both Wind and Spirit are found; and in Luke i. 35, we observe the term Holy Ghost--all translated from the same word. Let it be specially noted that in the Greek Testament the word _pneuma_ is used in all these cases, thus proving that Spirit, Holy Ghost and Wind are used in the Christian Scriptures as synonymous terms; and proving, also, that an unwarranted license has been assumed by translators in rendering the same word three different ways. M. Auvaroff, in his "Essays on the Eleusinian Mysteries," speaks of "the torch being ignited at the command of Hermes of Egypt, the spiritual agent in the workshop of creation," relative to which statement a writer remarks, "Hermes appears in this instance as a personification of Wind or Spirit, as in the bible (meaning the Christian bible), God, Wind and Spirit are often interchangeable terms, and the Word appears to be from the same windy source." 5. _The Holy Ghost as "a tongue of fire, which sat upon each of them" (the apostles)_. (See Acts. ii. 3.) Even this conception is an orientalism. Mr. Higgins tells us that "Budha, an incarnate God of the Hindoos (three thousand years ago), is often seen with a glory or tongue of fire upon his head." And the tradition of the visible manifestation of the Holy Ghost by fire was prevalent among the ancient Budhists, Celts, Druids and Etrurians. In fact, as our author truly remarks, "The Holy Ghost, or Holy Spirit, when visible, was always in the form of fire (or a bird), and was always accompanied with wisdom and power." Hence, is disclosed the origin of the ancient custom amongst the Hindoos, Persians and Chaldeans, of making offerings to the solar fire, emblem of the Holy Ghost or Holy Spirit. 6. _Inspiration by the Holy Ghost_ (Luke ii. 26.) "Holy men of God," including some of the prophets, are claimed to have been inspired by the Holy Ghost (See 2 Peter i. 21; Acts xxviii. 25.) In like manner, as we are informed by Mr. Cleland in his "Specimens" (see Appendix), the ancient Celts were not only "moved by the Holy Ghost" in their divine decrees and prophetic utterances, but they claimed that their Salic laws (seventy-two in number) were inspired by the "Salo Ghost" (Holy Ghost), known also as "the Wisdom of the Spirit, or the Voice of the Spirit." This author several times alludes to the fact, and exhibits the proof, that the doctrine of the Holy Ghost was known to this ancient people. 7. _The Holy Ghost imparted by "the laying on of hands_." This, too, is an ancient oriental custom. "And by the imposition of hands on the head of the candidate," says Mr. Cleland, speaking of the Celts, "the Holy Ghost, or Holy Spirit, was conveyed." And thus was the Holy Spirit, Ghost, Gas, Wind, Electrical Fire or Spirit of Authority imparted to the hierophant or gospel novitiate. "And their public assemblies," continues our author, "were always opened by an invocation to the Holy Ghost." 8. _Baptism by or into the Holy Ghost accompanied with fire_. (Matt. iii. 11.) This rite, too, is traceable to a very ancient period, and was practiced by several of the old symbolical and mythological systems. The Tuscans, or Etrurians, baptized with fire, wind (ghost) and water. Baptism into the first member of the Trinity (the Father) was with fire; baptism into the second member of the Trinity (the Word) was with water; while baptism into the third member of the Trinity (the Holy Ghost, or Holy Spirit) consisted of the initiatory spiritual or symbolical application of gas, gust, ghost, wind, or spirit. It appears from "Herbert's Travels," that, in "ancient countries", the child was taken to the priest, who named him (christened him) before the sacred fire after which ceremony he was sprinkled with "holy water" from a vessel made of the sacred tree known as "The Holme." 9. _The Holy Ghost imparted by breathing_. (See John xx. 22). "Sometimes," says Mr. Higgins, relative to this custom among the ancient heathen, "the priest blew his breath upon the child, which was then considered baptized by _air, spiritus sanctus,_ or ghost--i. e., baptism by the Holy Ghost." In case of baptism, a portion of the Holy Ghost was supposed to be transferred from the priest to the candidate. "The practice of breathing in or upon," says our author, "was quite common among the ancient heathen." 10. _The Holy Ghost as the agent in divine conception, or the procreation of other Gods_. Jesus is said to have been conceived by the Holy Ghost (see Matt. i. 18), and we find similar claims instituted still more anciently for other incarnate demigods. In the Mexican Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy Ghost, by the last of whom Chimalman conceived and brought forth the enfleshed God Quexalcote. (See Mex. Ant., vol. vi. p. 1650.) In the Hindoo mythos, Sakia was conceived by the Holy Ghost Nara-an. Other cases might be cited, proving the same point. Thus, we observe that the various heterogeneous conceptions, discordant traditions, and contradictory superstitions appertaining to that anomalous nondescript being known as the Holy Ghost, are traceable to various oriental countries, and to a very remote antiquity. We will only occupy space with one or two more historical citations of a general nature, tending to prove the prevalence of this ghostly myth in other countries, not yet cited. "Tell me, O thou strong in fire!" ejaculated Sesostris of Egypt, to the oracle, as reported by Manetho, "who before me could subjugate all things, and who shall after me?" But the oracle rebuked him, saying, "First God, then the Word, and with them the Spirit." (See Nimrod, vol. i. p. 119.) "And Plutarch, in his 'Life of Numa,'" says our oft-quoted author, "shows that the incarnation of the Holy Spirit was known both to the ancient Romans and Egyptians." The doctrine is thus shown to have been nearly universal. ORIGIN OF THE HOLY GHOST SUPERSTITION. The origin of the tradition respecting this fabulous and mythical being is easily traced to the ancient Brahminical trifold conception of the Deity, in which stands, in Trinity order, first, the God of power or might--Brahma or Brahm (the Father); second, the God of creation--the Word--answering to John's creative Word (see John i. 3); and third, the God of generation and regeneration--the Holy Spirit or Holy Ghost. The last member of the triune conception of the Deity was considered, under the Brahminical theocracy, the _living, vital, active, life-imparting agent_ in both the first and second births of men and the gods. It will be borne in mind by the reader that the Holy Ghost is represented in the Christian Scripture as being the active generating agent of Christ's conception, he being, as Matthew declares, "conceived by the Holy Ghost." The Holy Ghost was also the regenerating agent at his baptism. Although the specific object of the descent of the Holy Ghost on that occasion is not stated by Luke, who relates it; although it is not stated for what purpose the Holy Spirit, after assuming the form of a bird, alighted and sat upon his head, yet the motive is fully disclosed in the older mythical religions, where we find the matter in fuller detail. Baptism itself is claimed by all its Christian votaries as regenerating or imparting a new spiritual life; and this new spiritual life was believed by several nations, as before stated, to make its appearance in the character and shape of a bird--sometimes a pigeon, sometimes a dove; and thus the origin of this tradition is most clearly and unmistakably exposed. As the foregoing historical exposition exhibits the Holy Ghost as performing several distinct and discordant offices, so we likewise find it possessing at least two distinct genders, the masculine and neuter, i. e., no gender--changing, ghost-like, from one to the other, as occasion seemed to require. From all these metamorphoses it is shown and demonstrated that the sexual and other changes of this "mysterious" being equal many of the demigods of mythology. The primary windy conception of the Holy Ghost is traceable to that early period of society when the rude and untutored denizens of the earth, in their profound ignorance of natural causes, were very easily and naturally led into the belief that wherever there was motion there was a God, or the active manifestation of a God, whether it was in the wind, breath, water, fire, or the sun. Hence, the Buddhists had their god _Vasus_ who manifested himself variously in the shape or character of fire, wind, storms, gas, ghosts, gusts, and the breath, thus constituting a very nearly-allied counterpart to the Christian Holy Ghost, which Mr. Parkhurst tells us originally meant "air in motion." This god was believed to have sprung from the supreme, primordial God, which the ancient Brahmins and Buddhists generally believed was constituted of a fine, spiritual substance,--aura, anima, wind, ether, igneous fluid, or electrical fire, i. e., fire from the sun, giving rise to "baptism by fire" and hence, the third God, or third member of the Trinity, subsequently arising out of this compound being, was also necessarily composed of or consisted of the same properties--all of which were believed to be correlated, if not identical. Such is a complete, though brief, historical elucidation of that mysterious, imaginary being so corporally intangible that Faustus, of the third century, declared respecting it, "The Holy Spirit, the third majesty, has the air for his residence." And it is a fabulous God whose scriptural biography is invested with so many ludicrous and abstruse incidents as to incite several hundred Christian writers to labor hard with a "godly zeal," by a reconstruction of "God's Word" and a rehabiliment of the ghostly texts, to effect some kind of a reconciliation of the story with reason and common sense--with what success the reader is left to judge. THE UNPARDONABLE SIN AGAINST THE HOLY GHOST. Before dismissing our ghostly narrative, it may effect something in the way of mitigating the anxious fears of some of our Christian brothers and sisters to explain the nature of "the sin against the Holy Ghost," and assign the reason for its being unpardonable. The sin against the Holy Ghost consisted, according to the ancient Mexican traditions, in resisting its operations in the second birth--that is, the regeneration of the heart or soul by the Holy Ghost. And as the rectification of the heart or soul was a prominent idea with Christ, there is scarcely any ground to doubt but that this was the notion he cherished of the nature of the sin against the Holy Ghost. And it was considered unpardonable, simply because as the pardoning and cleansing process consisted in, or was at least always accompanied with baptism by water, in which operation the Holy Ghost was the agent in effecting a "new birth," therefore, when the ministrations or operations of this indispensable agent were resisted or rejected, there was no channel, no means, no possible mode left for the sinner to find a renewed acceptance with God. When a person sinned against the Father or the Word (the Son), he could find a door of forgiveness through the baptizing processes spiritual or elementary, of the Holy Ghost. But an offense committed against this third limb of the Godhead had the effect to close and bar the door so that there could be "no forgiveness, either in this life or that which is to come." To sin against the Holy Ghost was to tear down the scaffold by which the door of heaven was to be reached. And thus it is explained the great "_mystery of godliness_," the "unpardonable sin against the Holy Ghost," which, on account of the frightful penalty annexed to it, while it is impossible to learn what it consists in--it being undefined and undefinable--has caused thousands, and probably millions, of the disciples of the Christian faith the most agonizing hours of alarm and despair. CHAPTER XXIII. THE DIVINE "WORD" OF ORIENTAL ORIGIN. The Word as Creator, as Second Person of the Trinity, and its Pre-Existence. THE WORD OF ORIENTAL ORIGIN. "In the beginning was the Word, and the Word was with God, and the Word was God." (John i. i.) The doctrine of the divine creative word (from the Greek Logos) appears to have been coeval in its origin with that of the Trinity, if not inseparably connected with it, as it constitutes the second member of the Trinity of "Father, Word, and Holy Ghost" in most of the ancient systems of religion. Works on heathen mythology show that it was anciently a very prevalent custom to personify ideas, thoughts and words into angels and Gods. Words were first personated, and transformed into men, then into angels, and finally into Gods. And here is foreshadowed the origin of John's personification of "the Word made flesh." It was simply the word of the supreme God as it escaped from his mouth, assuming the form and characteristics of a divine being like himself, and taking position as a secondary God and second member of the Trinity. This was the orient conception, and it appears to have been John's. He evidently had no thought of Christ experiencing human birth, at first, or being born of a woman, but believed, like some of the orientalists, that he came out of the mouth of the Father, and was thus "made flesh." (John i. 2.) Not a word of Christ being born is found in John's Gospel, till after his existence as the Word is spoken of. (See first note in back of book.) THE WORD AS CREATOR. John also represents the Word as having been the Creator. "All things were made by him." (John i. 3.) And Peter declares, "By the word of God the heavens were of old." (2 iii. 5.) Now, let it be observed here, as a notable circumstance, that the Chinese bible, much older than the Christian's New Testament, likewise declares, "God pronounced the primeval Word, and his own eternal and glorious abode sprang into existence." Mr. Guizot, in a note on Gibbon's work, says, "According to the Zend-Avesta (the Persian bible, more than three thousand years old), it is by the Word, more ancient than the world, that Ormuzd created the universe." In like manner the sacred writings of the ancient Thibetans speak of "the Word which produced the world"--an exact counterpart to John's declaration, "All things were made by him." And the ancient Greek writer Amelias, speaking of the God Mercury, says, "And this plainly was the Logos (the Word), by whom all things were made, he being himself eternal," as Heraclitus would say,.... He assumed to be with God, and to be God, and in him everything that was made, has its life and being, who, descending into body, and putting on flesh, took the appearance of a man, though still retaining the majesty of his nature. Here is "the Word made flesh" set forth in most explicit terms. The Psalmist exclaims, "By the Word of God were the heavens made, and all the host of them by the Breath of his mouth." (Ps. xxxiii. 6.) Here is disclosed not only the conception of the Word as Creator, but also the Word and the Breath as synonymous terms, both of which conceptions oriental history amply proves to be of heathen derivation. It was anciently believed that the Word and Breath of God were the same, and possessed a vitalizing power, which, as they issued from his mouth, might be transformed into another being known as a secondary God. Both the Jews and the Christians seem to have inherited this belief, as evinced by the foregoing quotations from their bible. The most ancient tradition taught that the Word emanated from the mouth of the principal God, and "became flesh," that is, took form, as the ancient Brahmins expressed it, for the special purpose of serving as agent in the work of creation, that is, to become the creator of the external universe. St. John evidently borrowed this idea. Read his first chapter. PRE-EXISTENCE OF THE WORD. The pre-existence or previous existence of the Word, antecedent to the date of its metamorphosis into the human form, we find taught in several of the ancient systems of religion, as well as the more modern Christian system. Several texts in the Christian New Testament set forth the doctrine quite explicitly. Christ, as the Divine Word, declared, "Before Abraham was I am," and that he had an existence with the Father before the foundation of the world, etc., which is a distinct avowal of the doctrine of pre-existence. But oriental history proves the doctrine is much older than Christianity. The Hindoo very anciently taught that "the Word had existed with God from all eternity, and when spoken it became a glorious form, the aggregate embodiment of all the divine ideas, and performed the work of creation." And of Chrishna, it is affirmed that "while upon the earth he existed also in heaven." (See Baghavat Gita.) In like manner it is declared of an Egyptian God, that "though he was born into the world, he existed with his father God before the world was made." And parallel to this is the statement of the Chinese bible, that "though the Holy Word (Chang-si) will be born upon the earth, yet he existed before anything was made." Even for Pythagoras it was claimed he existed in heaven before he was born upon the earth. Mr. Higgins, in summing up the matter, declares, "All the old religions believed the world was created by the Word, and that this Word existed before creation" (Ana., vol. ii. p. 77), which clearly indicates the source of St John's creative Word. THE DUAL OR TWO-FOLD NAME OF THE WORD. In most cases the living Divine Word was known by different names and titles, prior to the era of its assuming the mortal form, from that by which it was known after its fleshly investment. Among the ancient Persians, the name for the divine spiritual Word was Honover. After its human birth, it was called "Mithra the Mediator." The Hindoo oriental term for the primeval Word was Om, or Aum. After assuming its most important incarnate form, it was known as Chrishna. The Chinese Holy Interior Word was Om-i-to, and its principal incarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed their belief in a Divine Word before the Christian era, which, in their language, was Amina. They taught, like John, that it came forth from the mouth of the Supreme God (Brahm) to perform the work of creation, after which, it was known as Sakia. And that popular Christian writer, Mr. Milman, informs us that the Jewish founders of Christianity believed in an original Divine Word, which they call Memra. When it descended to the earth, and "became flesh, and dwelt amongst us" (John i. 4.) according to the evangelist John, it was known as Jesus Christ. Mr. Milman states also, that "the appellation to the Word is found in the Indian (Hindoo), Persian, the Platonic, and the Alexandrian systems." (Hist, of Chr., Book I., Chap. 2.) Thus, the question is settled by Christian testimony--that the various conceptions of the Divine Word are of heathen origin. THE WORD AS A SECOND MEMBER OF THE TRINITY. "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost." (1 John v. 7.) Observe, the Word is the second person in the Trinity. And this was its post in the Brahman, Hindoo, Persian, and other systems. "All religions," says a writer, "which taught the existence of the Word as a great primeval spirit, represent him as secondary to the supreme." (P. R. 3, vol. ii. p. 336.) "The Hindoos reverenced it next to Brahm." Mr. Higgins cuts the matter short by declaring "The Logos, or Word, was the second person of the Trinity in all the ancient systems, as in the Christian system," which again indicates its heathen origin. THE WORD AS A BIBLICAL TITLE. "The Word," "the Holy Word," "the Divine Word," etc., are terms now frequently applied to the Christian bible, without any suspicion of their heathen origin. The Zend-Avesta, the Persian bible, was always called "The Living Word of God," for that is the meaning of the term Zend-Avesta, and the oldest bible in the world is the Vedas, and it means both Word and Wisdom. Om, the Egyptian's Holy Word, they frequently applied both to their incarnate Gods and to their sacred writings. The practice of calling bibles "The Word of God" originated from the belief that, when the incarnate Word left the earth and returned to heaven, he infused a portion of his living spirits into the divine writings which contained his history and his doctrines, and which he himself had prompted his disciples to write as his "Last Revelation to man." They then must contain a portion of him, i. e., a portion of the Holy Word--hence, both were called "The Holy Word." And this heathen custom Christians borrowed. ORIGIN OF THE WORD AS CREATOR. The motive which prompted a belief in the creative Word may be styled a theological necessity. It was believed that the principal God, like the rulers of earth, was too aristocratic to labor with his own hands. Hence, another God was originated to perform the work of creation, and called "The Word." The origin of the creative Word is still further indicated by Blackwood's Magazine. It says:-- "Creation became impossible to a being already infinite, and was a derogation to a being already perfect. Some lower God, some Avatar, must be interposed (as an emanation from the mouth of the God supreme) to perform the subordinate task of creation. Hence, originated and came forth the Word as Creator." CHAPTER XXIV. THE TRINITY VERY ANCIENTLY A CURRENT HEATHEN DOCTRINE "THERE are three that bear record in heaven, the Father, the Word, and the Holy Ghost, and these three are one." (i John v.

seeketh

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

shaped

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

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103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

bidding

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

tsk

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

leaving

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

pay

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

number

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

chest

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

partner

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

handing

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

july

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

since

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

requiring

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

guys

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

victim

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

exclamation

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

pitch

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

103 DALE (V.O.) So you took that as an invitation to fuck her? Julia opens her front door, stares straight at Kurt and beckons him inside with one finger. She walks back inside, leaving the door wide open. KURT (V.O.) No. I took her invitation to fuck her as an invitation to fuck her. (CONTINUED) 86. 103 CONTINUED: 103 Kurt opens his car door so quickly he tumbles out headfirst, planting his face on the street. He jumps up, but one ankle is tangled in the seatbelt. He finally extricates himself and hurries to the house as fast as he can. 104 INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT) 104 NICK There is something clinically wrong with you. KURT I know. I'm a rapscallion. DALE You're not a rapscallion. You're a whore. A filthy whore. KURT Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore. NICK Whatever. We have bigger fish to fry right now. What do we do about Harken? KURT Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom. NICK Okay, but we should find a payphone. We don't want them tracing the call to us. 105 EXT. BRADFORD'S BAR - MINUTES LATER 105 Nick, Kurt and Dale emerge from the bar. NICK Come on, we'll take my car. The three of them climb into Nick's car. 87. 106 INT. NICK'S CAR - CONTINUOUS ACTION 106 Before Nick can even pull out of his parking spot, they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them. The guys' faces go white. NICK What the hell? Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other. COP Are you the owner of this vehicle? NICK Uh, yes. Is there something wrong? COP We've got an APB on a black Kia Spectra, license 4HIG208. NICK Can I ask why? COP A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station. KURT Officer? This is not my car. Is it okay if I just -- ? COP All three of you, please. Nick glares at Kurt as the cops head back to their car. 107 INT. POLICE STATION - LATER 107 Kurt, Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other. Throughout the following, they speak in hushed voices. DALE They know everything. We're dead. I can't believe I let you guys talk me into this! (CONTINUED) 88. 107 CONTINUED: 107 KURT Oh, please. We were just being hypothetical. You're the one who pushed us to do it. NICK We can't even say anything about Harken now. KURT Why not? NICK Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably isn't the best alibi in the world. KURT You know, I didn't actually do anything illegal, so... DALE You broke into two people's houses and stole a BlackBerry! KURT You gonna rat on me, Dale? DALE Well, since I'm the only one without a connection to the murder, yeah, maybe I will. NICK That means you'd also rat on me. KURT Not if I rat on Dale first. Just then, a burly detective, HAGAN, appears behind them. HAGAN Gentlemen, this way, please. The guys glare angrily at each other as they follow Hagan. 108 INT. INTERROGATION ROOM - MINUTES LATER 108 Nick, Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner, SAMSON. Hagan slides a PHOTO across the table to Nick. 89. 109 CLOSE ON A BLACK AND WHITE IMAGE OF NICK 109 taken by the traffic camera. His terrified face is clear, as is the time stamp at the bottom. 110 BACK TO SCENE 110 HAGAN Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death? NICK I... was drag racing. (off their skeptical LOOK) I am a drag racer. There's no law against that, is there? HAGAN Actually there is. SAMSON You were drag racing in a Kia Spectra? NICK I don't win a lot. HAGAN Here's what I don't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy... (gestures to Dale) ... a registered sex offender -- KURT (RE: DALE) Tsk tsk. HAGAN ... and this guy... (gestures at Kurt and holds up a wallet) ... whose employee ID says he works for Pellit Chemicals, the victim's company. (CONTINUED) 90. 110 CONTINUED: 110 KURT (FEIGNING SHOCK) Wait. My boss was murdered?! Bobby Pellit?! DALE (WRY) You want me to get you a Kleenex? KURT I can't believe this. (TO NICK) What were you doing near his house?! Nick looks at him, pissed. NICK Where were you during the murder? KURT I was making love. DALE (SNORTS) `Making love.' KURT (to the cops) Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information? Both Dale and Nick shoot daggers at him. HAGAN No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and didn't tell us, that would be obstruction of justice. A beat. KURT Well, then I'm glad we have no idea who the shooter is, right, guys? (CONTINUED) 91. 110 CONTINUED: (2) 110 SAMSON (LOSING PATIENCE) If you expect us to believe this is all just a big coincidence, we're going to be here for a long time. DALE Okay wait! Now it's Kurt and Nick who look nervous. Is Dale about to crack? DALE Saying that we'll be here for a long time implies that we can't leave. Does that mean we're under arrest? Samson looks to Hagan who grimaces. HAGAN No. We just brought you in for questioning. DALE So, you don't have evidence constituting probable cause to arrest us? SAMSON Not yet. DALE Well then, we're free to go? HAGAN Technically. Dale nervously stands up, half expecting to be hit. DALE Come on, guys. Kurt and Nick, impressed and relieved, stand and head out. 111 INT. POLICE STATION - CONTINUOUS ACTION 111 The three guys head for the exit. (CONTINUED) 92. 111 CONTINUED: 111 NICK (TO DALE) Nice work. Where'd that come from? DALE `Law & Order.' KURT We really showed those guys. NICK `We'? You were gonna turn us in! KURT For, like, a second. SAMSON (O.S.) Stop! The guys turn to see Samson holding out a traffic citation. SAMSON (handing it to Nick) For speeding and running a red light. (THEN) Don't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they don't miss much. We HOLD ON Kurt's face and -- CUT TO: 112 FLASHBACK - INT. PELLIT'S BATHROOM - DAY 112 Kurt pulls Pellit's toothbrush out of his butt and returns it to its holder. 113 BACK TO SCENE (PRESENT) 113 Kurt suddenly looks nauseous. 114 INT. KURT'S CAR - MINUTES LATER 114 Kurt drives, Nick is in front and Dale in back. (CONTINUED) 93. 114 CONTINUED: 114 KURT We are so fucked. NICK Maybe it's time to lawyer up. DALE I don't have money for a lawyer. I gave all my money to Cocksucker Jones! KURT Hey, that's right! I forgot all about Cocksucker. Why don't we ask him what to do? NICK We did pay him five thousand dollars to be our murder consultant. DALE Actually, it was five thousand forty with the briefcase. OFF their looks -- CUT TO: 115 INT. DIVE BAR - SHORT TIME LATER 115 Cocksucker Jones looks up from his bar stool, surprised to see Nick, Kurt and Dale. COCKSUCKER JONES Oh damn, look who's back. How did it go with the Strangers on a Train shit? KURT Not great. We need your help. NICK One of our intended victims killed another of our intended victims. Cocksucker's eyes go wide. COCKSUCKER JONES Shut the fuck up! What kind of evil geniuses are you? (CONTINUED) 94. 115 CONTINUED: 115 DALE We don't even know why it happened. But the cops brought us in as suspects. What do we do now? COCKSUCKER JONES First things first. I'm gonna need another five thousand dollars. KURT What? No way. You said the last five thousand would cover this! COCKSUCKER JONES Okay, fine. Pay for my drink. As Nick puts down a few bills on the bar, Dale leans in to Kurt. DALE (SOTTO) Not the best negotiator, is he? COCKSUCKER JONES Let me ask you this -- the guy who killed the other guy you were planning on killing, are the police after him too? NICK No. They don't suspect him. COCKSUCKER JONES All right, so you're gonna need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something. DALE That's horrible. COCKSUCKER JONES Naw, the earlobe's vestigial. (off their looks) All right, how about you trick him into confessing what he did while you wear a wire? KURT A wire. That's good. (CONTINUED) 95. 115 CONTINUED: (2) 115 NICK (TO COCKSUCKER) Is that how the cops caught you when you murdered someone? COCKSUCKER JONES What the hell are you talking about? I never murdered anyone. There's a beat. NICK What? COCKSUCKER JONES Who told you I killed somebody? KURT You did. You said you served a `dime' for `some pretty ugly shit.' COCKSUCKER JONES It was ugly. DALE What was it? COCKSUCKER JONES (LEANING IN) You ever see the movie Snow Falling on Cedars? NICK/KURT No. DALE Yes. COCKSUCKER JONES I got caught with a video camera making a bootleg copy of that movie. NICK You did ten years for video piracy? COCKSUCKER JONES Hey, that's a federal offense. They take that shit serious. (BEAT) I also made the mistake of representing myself at trial. May have insulted a few of the jurors. (CONTINUED) 96. 115 CONTINUED: (3) 115 KURT Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?! COCKSUCKER JONES So you do know it. DALE If you're not a murderer, why do you carry that gun on your belt? COCKSUCKER JONES Gun? He pulls back his jacket to reveal the holster we saw earlier. COCKSUCKER JONES This is a motherfucking iPhone. He pulls the phone out and shows them. NICK I feel like such a moron. COCKSUCKER JONES Well, you are a moron. You don't walk into a bar and hand a guy five thousand dollars just because he's black. KURT Come on, guys. Let's get out of here. The three of them turn to go. COCKSUCKER JONES (calling after them) Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too. 116 EXT. POLICE CRIME LAB - NEXT DAY 116 Hagan and Samson pull up in their car and get out. 117 INT. FORENSICS LAB - MOMENTS LATER 117 The detectives enter to find a CRIME TECH leaning over his computer. (CONTINUED) 97. 117 CONTINUED: 117 HAGAN You got something for us? CRIME TECH We didn't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble. SAMSON Where was it? CRIME TECH Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter. HAGAN That sick bastard. CRIME TECH That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor. SAMSON Razor?! CRIME TECH The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass. HAGAN All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends. (takes out cell) I'll call the DA. 118 EXT. HARKEN'S HOUSE - THAT NIGHT 118 Kurt's car pulls up with the lights off and parks. 119 INT. KURT'S CAR - CONTINUOUS ACTION 119 Kurt is at the wheel, Nick sits shotgun, Dale in back. (CONTINUED) 98. 119 CONTINUED: 119 KURT Okay, looks quiet. Is the tape recorder ready? Dale pulls out a mini-tape recorder and hands it to Nick along with a roll of surgical tape. DALE Fresh batteries, fresh six-hour tape, voice activated. NICK One of us needs to tape it to our chest. KURT I'll do it. I'm the only one without hair on my chest. NICK That's `cause you shave it. KURT I don't shave it. I wax it. Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt. DALE So what do we do now? Wait for Harken to come home and ambush him? NICK I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess. KURT Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out. DALE Hey, we should find an office chair so one of us can dramatically spin around and face Harken. NICK I'll be in the chair. (CONTINUED) 99. 119 CONTINUED: (2) 119 KURT Why do you get to be the guy in the chair? NICK He's my boss. DALE We could try and find more than one office chair so the three of us can spin around at the same time. KURT That doesn't sound intimidating. That sounds like a musical number. DALE I guess you're right. I'll turn on the lamp. KURT So I'm just supposed to stand there like an idiot? NICK You're recording it all. You're the most important member of the team. KURT Don't patronize me, Nick. 120 EXT. HARKEN'S PORCH - MINUTES LATER 120 The guys tiptoe onto the porch, peeking in the windows. Nick tries the front door... and it swings open. They look at each other, then quietly head inside. 121 INT. HARKEN'S HOUSE - CONTINUOUS ACTION 121 The LIGHTS suddenly come on. PARTYGOERS Surprise! There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party. The guys stand dumbstruck. The revelry peters out as the guests realize there are three strangers at the door. Mrs. Harken steps up. (CONTINUED) 100. 121 CONTINUED: 121 MRS. HARKEN Who are you? NICK Uh... hi... sorry we're late. I'm Nick. I work with your husband AND -- MRS. HARKEN (NOTICING DALE) Aren't you the young man who helped Dave on the street the other day? DALE Uh, yes. How's he doing? MRS. HARKEN He's fine. Thanks to you. (then, to Nick) Did I invite you to this? Before Nick can answer a GUEST at the window calls out. GUEST #1 His car just turned the corner! GUEST #2 Someone get the lights! As everyone scurries to hide, Kurt finds himself pressed up against Mrs. Harken, beside the sofa. He checks her out. KURT (shaking her hand) Hi, we didn't formally meet. I'm Kurt. MRS. HARKEN (DISTRACTED) Hi. KURT Nick didn't tell me that his boss was married to a model. MRS. HARKEN (noticing him now, FLATTERED) I'm not a model. KURT ("SINCERE") When did you quit? (CONTINUED) 101. 121 CONTINUED: (2) 121 We see Mrs. Harken is intrigued. Just then, the front door opens and Harken enters. The lights come on. PARTYGOERS Surprise! A jittery Harken nearly jumps out of his skin as the crowd starts singing "Happy Birthday." Mrs. Harken takes Harken's arm. MRS. HARKEN Were you surprised? HARKEN (RELIEVED) Oh, yeah. MRS. HARKEN Look, everyone's here. HARKEN (EVILLY) Almost everyone. MRS. HARKEN Who are you talking about? HARKEN I think you know. (THEN) I need to put my stuff away. I'll be right back. He heads off to his study, leaving his confused wife. She notices Kurt, standing at the buffet, staring at her. He smiles and winks. Mrs. Harken gives him a little wave. 122 ANGLE ON NICK, KURT AND DALE 122 NICK He's going off alone. This is our chance. DALE You guys ready? KURT (still staring at Mrs. Harken) So fucking ready. NICK Okay, stay close. (CONTINUED) 102. 122 CONTINUED: 122 KURT (NOT LISTENING) Gotcha. The three of them head toward the study. 123 INT. HARKEN'S STUDY - CONTINUOUS ACTION 123 Just as Nick and Dale enter, Harken looks up and sees them. HARKEN What the hell are you doing here? (TO DALE) You come to stab me a few more times, you lunatic? (TO NICK) And my wife invited you? Are you fucking her too? Nick tries his best to suppress his nervousness and be cool and threatening. NICK We know what you did, Harken. HARKEN What does that mean? NICK We were there. We saw you kill him. HARKEN (TURNING DEAD SERIOUS) So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover? Nick winces. So close. DALE (BLURTING OUT) Say his name. Nick and Harken turn to Dale. HARKEN What? (CONTINUED) 103. 123 CONTINUED: 123 DALE The guy you killed. What was his name? HARKEN Trust me, Pellit's name doesn't matter anymore. NICK There it is! (turning to Dale) Let's go, guys -- He freezes as he sees for the first time that Kurt didn't accompany them into the study. It's just him and Dale. Nick looks around, panicked. HARKEN Yeah, I killed Pellit -- NICK Hang on. Hold that thought, because I want to get my friend, KURT -- HARKEN I walked right up to his door and I shot him in his fucking chest, and I'll tell you something: I liked it. So if you think I'm a pussy who won't do the same exact thing to some half-assed blackmailer, guess again. NICK (looking back at the LIVING ROOM) You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -- HARKEN You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You... (TO DALE) ... you, and your friend Kurt, whoever the fuck he is. Dead. Men. (CONTINUED) 104. 123 CONTINUED: (2) 123 DALE (SOFTLY) We didn't know it was your birthday. Harken has crossed to a drawer and taken out a small safe. He begins turning the combination lock. NICK What are you doing? What's in that? HARKEN My gun. Just give me a second. Nick and Dale exchange a look, then quickly rush out of the room. 124 INT. HARKEN'S LIVING ROOM - MOMENTS LATER 124 looking thoroughly freaked out, Nick and Dale push their way through the partygoers. NICK We had him! We had the whole thing. What happened to Kurt? Just then, the door to a guest bathroom opens and Kurt emerges, buckling his belt and looking strangely red in the face. KURT Oh, hey. NICK `Hey'?! Where were you?! KURT Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken? NICK You're too late, Kurt! He confessed the whole damn thing! DALE More than once! Then he told us we were dead men! He's getting his gun right now! KURT Oh, man, I'm so sorry. I fucked up. (CONTINUED) 105. 124 CONTINUED: 124 NICK Yeah, you -- Suddenly, the bathroom door opens again and out steps Mrs. Harken, also looking disheveled. She adjusts her dress then rejoins the party. NICK (realizing what Kurt WAS DOING) You dick! Overcome with rage, Nick PUNCHES Kurt in the arm then rushes to the door. Dale and Kurt hurry after him. 125 ANGLE ON HARKEN 125 seeing them go. With a grim look, he calmly heads to the garage. 126 INT. KURT'S CAR - MINUTES LATER 126 Nick sits steaming mad as Kurt drives. Dan fiddles with the tape recorder in the back. KURT Look, I wasn't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it. From the back seat, we hear from the tape recorder: KURT (V.O.) In here? But all those people are right outside. MRS. HARKEN (V.O.) I know. That makes it even hotter. We hear unbuckling and unzipping. MRS. HARKEN (V.O.) Your balls are so smooth. KURT (V.O.) I wax them. DALE Is there anything you don't wax? Kurt shrugs. We hear some WET, SMACKING SOUNDS. (CONTINUED) 106. 126 CONTINUED: 126 NICK Ugh. Turn it off, Dale! KURT (V.O.) Oh yeah... oh shit! MRS. HARKEN (V.O.) Whoops. That was fast... KURT (QUICKLY) Yeah, Dale, turn that off! 127 EXT. STREET - CONTINUOUS ACTION 127 A short distance behind a car is following Kurt's. As it comes closer we see it's a Porsche. And it's driven by a determined-looking Harken. 128 EXT. KURT'S APARTMENT - SHORT TIME LATER 128 Kurt's car turns the corner and stops short. 129 INT. KURT'S CAR - CONTINUOUS ACTION 129 From the guys' POV we see an unmarked car and a police squad car parked outside of Kurt's place. Hagan and Samson stand with two UNIFORMED OFFICERS. KURT (O.S.) Holy shit! They must have found my DNA. NICK (O.S.) Turn around! Get us out of here! 130 EXT. STREET - CONTINUOUS ACTION 130 Kurt quickly does a U-turn and ZOOMS off in the direction they came, inadvertently SPEEDING through a red light. We see a traffic camera FLASH. 131 INSERT - A BLACK AND WHITE PHOTOGRAPH 131 clearly showing the three guys, their faces distorted with panic. 107. 132 INT. KURT'S CAR - MOMENTS LATER 132 KURT Okay, it's clear that none of us can go home again. Probably ever. DALE What?! KURT I'm sure they have cops at all our places. I think our best bet is to get out of the country. NICK Where are we going to go? KURT Mexico? DALE Everyone flees to Mexico. That's the first place they'll look. KURT You're right. What about Asia? We could become kick boxers. NICK What the fuck are you talking about? KURT What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers? NICK What if I was destined to smack you right in the face? KURT That seems like a lesser destiny. SFX: Dale's cell phone rings. DALE (ANSWERING PHONE) Hello? INTERCUT WITH: 108. 133 INT. JULIA'S BATHROOM - SAME TIME 133 Julia lies in a bubble bath, a glass of wine on the edge of the tub. JULIA Hello, lover. DALE Oh God. Look, Julia, I can't talk right now -- Kurt reacts at hearing it's Julia. He makes an "I'm not here" gesture. JULIA No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us. DALE No! Wait! JULIA I think I've waited long enough. I'm tired of you playing with my emotions. DALE I'm not playing. I'm going to do it. I swear! JULIA This Friday. At the office. DALE Fine! JULIA Wait. What are you going to do to me? DALE I'm going to... have sex with you. JULIA Details! And be explicit. DALE Right now? You want me to say it? KURT Oh, shit. We've got company. (CONTINUED) 109. 133 CONTINUED: 133 He points out the back window and the guys react as they see Harken driving directly on their tail. NICK It's Harken! Lose him! KURT Lose him? Sure, Nick. His 500 horsepower is no match for my 150. JULIA (ON PHONE) Say it! DALE (BLURTING OUT) I'm gonna put my penis in your pussy! Despite the danger, Kurt and Nick turn curiously to look at Dale. JULIA Oh, come on, Casanova. You can do better than that. DALE (WITH DIFFICULTY) I'm gonna make you feel good. With my tongue... and my fingers. And whatnot. Just then, Harken speeds up and SLAMS into the tail of Kurt's car. Kurt struggles to stay on the road. NICK Jesus Christ, this guy's nuts! JULIA You going to slap me with your cock, Dale? DALE Yes! Yes! I'm going to beat your face with my cock! JULIA More! BANG! Harken again HITS Kurt's car from behind. A tail light shatters. (CONTINUED) 110. 133 CONTINUED: (2) 133 DALE (FRANTIC) I'm gonna put my balls in your hair! I'm gonna spit on your arms! Kurt and Nick exchange a baffled look. JULIA See you Friday, you dirty bird. Julia hangs up. Dale looks like he's been violated. DALE Nice job `fucking the crazy out of her,' Kurt! KURT Maybe I should've spit on her arms. ON STAR REP (V.O.) Good evening, Mr. Gamble. The three of them JUMP, startled by the sudden voice in the car with them. KURT What the hell? ON STAR REP (V.O.) This is Gregory, your On Star rep. Our on-board sensors report that you have a damaged tail light. KURT Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us! Kurt looks in the rearview mirror and sees Harken is still behind them. As his car reaches an intersection, Kurt swerves at the last second and takes a hard left. Harken overshoots the turn. ON STAR REP (V.O.) Oh dear. I will alert the local police authorities and direct them to your location. NICK No, wait! Don't call the police! They're already after us. (CONTINUED) 111. 133 CONTINUED: (3) 133 DALE They think we murdered someone. Suddenly, Kurt's engine dies and the car comes to a gradual stop. NICK Why are you slowing down?! KURT I'm not! The engine died! ON STAR REP (V.O.) I have remotely disabled your engine. KURT Why would you do that, Gregory?! ON STAR REP (V.O.) It's a standard On Star safety protocol when we believe a driver has committed a crime. KURT I pay nineteen bucks a month for this fucking service! ON STAR REP (V.O.) Please stay with your vehicle. The police should arrive shortly. DALE I thought you were our friend, Gregory! There's a sound of screeching tires and Harken's Porsche ZOOMS up behind them. NICK He's not stopping! KURT Oh, shit! 134 EXT. STREET - CONTINUOUS ACTION 134 Harken's car PLOWS into the rear of Kurt's, forcing it into the back of a parked car. Even if the engine was working, there'd be nowhere to go now. Dazed from the impact, the guys look back to see Harken slowly approaching on foot, holding a gun in his hand. (CONTINUED) 112. 134 CONTINUED: 134 DALE Shit, shit, shit... Harken taps on Kurt's window with the barrel of the gun. Kurt lowers the window. KURT I'm guessing you don't want to EXCHANGE INSURANCE information -- ? HARKEN Out of the car. All of you. The three guys nervously exit the car and face Harken who points the gun at them. NICK Look, Mr. Harken -- HARKEN Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail. Police sirens approaching. DALE (NEAR TEARS) So, you're not gonna shoot us? HARKEN No. I have a better idea. Harken turns the gun toward his own thigh and FIRES. HARKEN Unnnnhhhh! NICK What the -- ?! As his leg bleeds, Harken wipes the gun off with his shirt, then suddenly tosses it to Dale. HARKEN Catch. Startled, Dale catches the pistol with shaking hands. (CONTINUED) 113. 134 CONTINUED: (2) 134 HARKEN (THROUGH GRITTED TEETH) Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up. KURT That's crazy! Down the street, two squad cars turn the corner and speed toward them. Dale looks down at the gun in his hand and drops it. HARKEN Is it? Because I don't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you can't win a marathon without putting a few Band-Aids on your nipples. Nick deflates. The three guys realize Harken's won. Then, from the car's open window they hear: ON STAR REP (V.O.) Did I mention that this conversation is being recorded? Kurt, Nick and Dale exchange a look of shock and relief. HARKEN Who said that? KURT (GRINNING) That's Gregory, our On Star rep. ON STAR REP (V.O.) (PROUDLY) My name is Atmanand! Harken's face falls. He looks around nervously as the police cars come to a halt. HARKEN You can't -- this isn't -- And with that, Harken BOLTS AWAY as fast as his injured leg will take him. It's not very fast. The guys watch him for a beat as they share a joyful, exhausted moment together. (CONTINUED) 114. 134 CONTINUED: (3) 134 NICK I think this is gonna work out okay for us. KURT I told you. DALE (RE: HARKEN) Should we stop him? KURT Probably. NICK I've got this. (looking to heaven) This is for you, Gam Gam. Nick sprints off after his hobbling boss and in SLOW MOTION, violently TACKLES Harken to the pavement. Harken goes down hard, his face SLAMMING against the asphalt. As the COPS hurry toward them, Nick kneels on the back of Harken's neck, pinning him. HARKEN Get the fuck off me!

wormwood

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