Counterpane, a screenplay by bob chartain,
Hi- Thanks for stopping by – I wrote this a time ago - it was written on speculation but never pushed around Tinsel Town – I really enjoyed writing this and fell in love with the characters – who took on a life of their own – I was only their scribe - I’m glad to be able to share it with you.
This screenplay is written in the easy to read format of William Goldman “Butch Cassidy” – although this format has never been widely accepted it makes for the easiest read for those who have no understanding of the screenplay format. It can also be a better read for the educated as they generally read down the center of the page and pay the most attention to dialog.
Usual scene headings or slug lines are usually like this; EXT - HOUSE – DAY and really slow the reader down.
Simply notes for reading this is to remember that in a screenplay it’s difficult to delve into a characters psyche and internal dialog as everything must be shown on the screen.
Try to visualize the scenes and read the location setups with care as they might contain the keys to the actions.
I also took the liberty to minimize the (Continued) command, eliminate page numbers and the numbering of scene headings.
FADE IN:
A DARK AND FOREBODING ALLEY IN AN EASTERN BLOC CITY
DAVID CARSON, lean and ruggedly handsome moves furtively past
DAVID CARSON, lean and ruggedly handsome moves furtively past
closed shops and darkened doorways. He glances over his shoulder, then -
FUMBLES IN HIS POCKET –
and pulls out a wadded piece of paper. He studies it carefully, then looks down the alley for the address.
DAVID DUCKS INTO A DARK ALCOVE -
as the SOUND of marching footsteps breaks the silence.
SIX STERN AND REGIMENTED RUSSIAN SOLDIERS -
goose-step across the far end of the alley.
DAVID WIPES THE SWEAT FROM HIS BROW, -
waits pensively until the footsteps fade into silence.
DAVID STEPS BACK INTO THE ALLEY -
and then retreats quickly, as a tin can hits the glistening cobblestones and a disfigured, large rat scurries back into the nearby refuse.
DAVID, NOW MORE ALERT THAN EVER, -
makes his way to an unmarked doorway several yards down the alley and hesitates, fighting with himself.
DAVID
(mutters)
Women.
DAVID KNOCKS -
a predetermined staccato. A small window in the door opens slowly.
DAVID
Catmon.
David lifts the crumpled paper to the opening where the dim light glistens off pearly white teeth.
A BLACK HAND WITH AN EXTRAORDINARILY LONG NAIL –
on the little finger reaches out and snatches the paper, then recoils like a snake. David sighs with relief at the SOUND of several latches being simultaneously unfastened. Soldiers'
FOOTSTEPS are again heard, running on the cobblestone street. "Anne Frank" like, European sirens WAIL closer. The door is thrown open and David is yanked into the -
THE DARKENED ROOM.
He looks up, into the mesmeric eyes of the hawk-featured CATMON, a Caribbean Islander with a sardonic smile. David 3 quickly shifts his glance to the sparse room with it's Oriental, shadowy ambience. Catmon taps David on the shoulder, then -
SLOWLY UNFOLDS HIS HAND, PALM UP.
DAVID fumbles in his jacket, then methodically fills the hand with a pile of large U.S. bills.
CATMON RAISES HIS OTHER HAND -
to David's eye level. Several phosphorescent green tablets are clenched between his thumb and index finger. He LAUGHS an insidious laugh and -
THE LUMINOUS CAPSULES -
roll slowly off the long finger nail into David's outstretched hands. After a beat.
CATMON
(insidiously)
Live long and well, mon'..
A GOVERNMENT BUILDING OVERLOOKING A PLAZA - NIGHT..
PETROVSKY, an official somewhere in Eastern Europe, moves in the shadows, from the window overlooking the plaza to the chess board below the desk light. He picks up an elaborate -
PAWN, A SOLDIER ON HORSEBACK -
and methodically moves it forward a space -
TO A CHECK MATE POSITION.
MOVIE TITLE COMES UP:
"COUNTERPANE"
A CEILING SHOT of an undulating checker-board coverlet on a water bed. The SOUND of laughter and barely audible sexual AD LIBS by male and female voices. Then, -
DAVID AND SHERRY LYNN -
come up for air from beneath the sheets in -
A PLUSH BEDROOM IN THE SANTA MONTICA MOUNTAINS.
SHERRY LYNN, in her early thirties, has striking black hair and a beautiful, somewhat wistful face. She reaches for a cigarette, David sighs and grabs his drink on the bedside table.
DAVID
God Sherry! You're like good wine.
Better with age.
SHERRY
(wincing)
Thanks for nothing.
(a smile)
I love you anyway.
David, seemingly preoccupied, plays with her hair and pats her reassuringly.
SHERRY
You're distant, David.
(lights cigarette)
Things go okay in Europe?
DAVID
Sure.
David pulls on his briefs and carries his drink to the view window. Sherry drags on her cigarette and watches.
SHERRY
David, we've been together eight
Years… I still don't understand you.
OVER DAVID'S SHOULDER AND OUT THE WINDOW
DAVID .V.O.
I'm reassigned, Sherry.
To Central America.
Sherry angrily tosses her hair back, crushes the cigarette and yanks her robe on.
SHERRY
(moving from the bed)
I knew it, damnit!
She walks to the vanity and abstractly arranges her hair in the mirror.
SHERRY
(now deceptively calm)
When do you have to go?
David moves to the closet and pulls out a tuxedo.
DAVID
Day after tomorrow.
IN THE MIRROR, Sherry's face is expressionless.
SHERRY
Let's get married, David. Tomorrow.
I need something more than a shadow.
DAVID
I'm sorry, it's not in the company's
manual. You know that.
Sherry's face is stone; she has heard this before. She moves to the bathroom. David, dressing, watches, half guilty, half angry. Over the SOUND of running water.
DAVID
It's a different war down there.
(beat, then defensively)
I can't help it, babe. That's what
I do for a living, damn it!
Sherry appears at the door, drying her face.
SHERRY
Don't tell me you can't help it.
(throwing towel on the floor)
Men can never help it.
David shrugs.
SHERRY (cont'd)
Every man I ever met is obsessed
with toys and games… the older they
get it, the more its takes more to satisfy them.
With you, it's spies and counterspies.
DAVID
It's not that simple.
SHERRY
(moving to her closet)
No. After all the blood spilled
in this world. You're building a new
improved version of the same insanity.
Sherry pulls on an expensive evening gown and moves to the ﾍ
dressing table. David pops a -
RED PILL.
SHERRY
Do you really like what you're
doing, David?
David turns, struggling with the cummerbund on the tux.
DAVID
It's a job.
IN THE MIRROR, Sherry silently pouts and primps.
DAVID V.O.
(breaking the silent tension)
Are you so crazy about the modeling
rat race?
A TIME-DISSOLVE IN THE MIRROR, -
where Sherry gives her glamorous image a once-over, frowning at the crow's feet.
SHERRY
Well how do I look?
DAVID
You look beautiful.
Sherry smiles, moves to David and hugs him.
SHERRY
I'm sorry, handsome. I didn't want
to fight with you. Not tonight.
DAVID
The answer is yes.
Sherry's quizzical look.
DAVID
I love you.
SHERRY
I didn't ask. I was chicken.
DAVID
Let's get that god damned party over with,
so we can get back here and have our own.
SHERRY
(gayly)
Si, si, Senor.
She takes a last look around the bedroom, moves to the bedstand and tosses some personal effects into the drawer.
A QUICK CLOSE UP OF A GREEN CAPSULE IN THE DRAWER.
SHERRY
Got the keys?
A BLACK TIE AFFAIR IN LOS ANGELES, -
David and Sherry make their entrance and walk down elegant stairs past groups of kibitzing upper-crusters. A cluster of gawking -
LEGGY AND PRISSY, MODEL TYPES, -
AD LIB about David's good looks. "Get a load of that hunk,” etc. In the b.g. Sherry, reconciled to the status quo, holds David’s hand, and leans against his shoulder.
MODEL
Good God. Did you see who he's
with? That's Sherry Lynn.
I didn't know she was that old.
MODEL #2
She doesn't know it, either.
SHERRY AND DAVID ON THE DANCE FLOOR.
DAVID
(fidgeting with collar)
God, I hate these parties.
SHERRY
It's part of my job.
(beat)
Will you be gone a long time?
DAVID
I'll keep in touch as best as
I can. You going to be okay?
SHERRY
Don't worry about me. I'm a big girl.
David, you really do love me, don't you?
DAVID
Do fish swim? Birds fly?
SHERRY
What do bees do?
A WINDY, DUSTY PLATEAU ABOVE THE CENTRAL AMERICAN RAIN FORESTS
MANUEL RAMIREZ, an older, mustachioed Mexican-American C.I.A. Operative, disguised as a peasant, and several swarthy ethnics are unloading equipment from several rugged trucks with the USGS logo and stacking it near a partially completed camp site.
DAVID, NOW UNSHAVEN, SHIRTLESS AND DIRTY, -
takes a break from the work to survey the forests below with -
HIGH POWERED BINOCULARS.
There are quick movements in the dense jungle foliage. Far in the distance, silent wisps of mortar smoke float gently up.
DAVID
Hurry Manny, they're almost here.
MANNY
I'm hurrying jefe.
MANNY, -
quickly moves the USGS cartons and crates away from the real cargo - heavy crates of armaments with Russian markings that were captured in the Mideast.
MANNY
Jose, de'me una barra. Pronto!
Manny takes the crowbar and opens the crates of weapons.
A RAGTAG AND MOTLEY COLUMN OF SOLDIERS -
winds their way up the plateau and into the camp. In the b.g. Manny passes mortar shells to waiting hands at the back of the truck. David studies the worn, dispirited soldiers and grins a poor soul smile.
JOE, the leader, smiles back, wearily. He is a boyish, shy, ungainly hunk and also C.I.A, but assigned to the military.
DAVID
Hey Joe, you're a long ways from
Texas, cowboy.
JOE
Bubba. You son of a gun.
Where's my love letters?
DAVID
They can't write in Texas, buddy.
If they did, you couldn't read 'em.
JOE
You desk jockeys can read okay.
But you bleed warm piss.
JOE PULLS OUT A KNIFE, digs the point into a festering wound on his arm and flicks out a maggot, studies his men who are loading the make do supplies and ammunition.
JOE
(good natured bite)
Doesn't anybody in Washington give
a damn? Can't we get some decent
men and equipment? I'm worn out
fighting with one hand tied behind my back.
David smiles sadly as Joe's men move wearily in the b.g.
JOE (cont'd)
The bad guys are bringing in new weapons
by the boatload and we're just suckin' air.
DAVID
How they getting the stuff in? We're
watching all the ports from satellites.
JOE
You watching those little islands off
the coast?. One of my boys saw 'em
unloading a submarine out there.
DAVID
Impossible. There's too many reefs.
JOE
Shit, what do I know? That's your job.
They've probably blasted out a
submarine pen for all I know.
Take care of the grass on your side of
the road, Bubba, and I'll take care of mine.
A SOFT CLOSE UP OF SHERRY WRITING A LETTER IN HER GARDEN.
SHERRY'S NARRATIVE V.O.
My dearest David, I hope this letter finds
you safe and well. Believe it nor not,
I'm in the garden where I'm spending more
and more time. Things at the agency are so
slow. maybe I can't accept the fact that
I'm getting older. You would really be
proud of me, I haven't gone to one party,
had a drink or a cigarette since you were here.
I miss you darling. Have you quit. The hell
with it.
SHERRY CRUMPLES THE LETTER –
and tosses it, then in deep thought moves through the garden.
A HONDURANIAN DC-3 IN THE FLUFFY SKIES ABOVE THE CARIBBEAN.
DAVID, -
even more scruffy is sprawled across several seats.
OUTSIDE HIS WINDOW the engine spews black oil and SPUTTERS in an intermittent drone. The plane bucks and bounces through the hot air pockets, but David sleeps on as -
THE ATTENDANT announces their descent into Coxen Hole.
TWO WOMEN TOURISTS -
in the seat behind David nonchalantly GIBBER about their adventures.
TOURIST
Mildred isn't this exciting?
Did you know that five thousand pirates
once lived here.
TOURIST #2
I'll bet some still do.
TOURIST
I hope so.
A SEQUENCE OF SHOTS, COVERING SEVERAL MONTHS.
DAVID'S ENDING POSITION MATCH DISSOLVES INTO THE NEXT SCENE.
DAVID, - standing in fatigues in the doorway of a Huey helicopter above the island watching the local shipping.
MATCH DISSLOVES TO:
DAVID, - standing in shoddy work clothes on the deck of a coastal freighter.
In the b.g. shipmates handle small packages.
MATCH DISSLOVES TO:
DAVID, - standing on a hill top, pulling out a TELESCOPE, -
in which he sees a small coastal tanker anchored offshore with an array of lines and hoses running to the something that looks like conning tower of a submarine. Men load the same packages on the submarine. David collapses the telescope and stands on the hill.
MATCH DISSLOVES TO:
A ROADSIDE STAND IN COXEN HOLE, ROATAN, HONDURAS -
where David stands in casual clothes, then bends and examines a voodoo effigy amidst the vials and bags labeled "health," "wealth," "love" and packets of green pills with a hand scrib bled "for a long life." MOMMA JAMES, an ancient relic, partially hidden under a large fedora steps away from the fetishes in the rear. David notices the wrapping paper from one of the packages, then shakes his head with a "just looking motion,"
turns and walks past the colorful locals to -
A RUSTIC BAR.
Manny sits near the entrance, watching a football game on the TV over the bar.
DAVID
How's it going Manny?
MANNY
The Rams just scored. Hijo!
I'm gonna loose my ass.
DAVID
You should be so lucky.
ON THE TELEVISION - The Niner quarterback completes a long pass for a touchdown. Manny jumps up and yells, drawing a lot of cold stares from the unenthusiastic clientele. In the b.g. Catmon walks by, unaware of David's presence.
DAVID
There's a tanker outside the harbor.
Looks like they're in the drug business, too.
MANNY
(paying half attention)
Oh yeh? Too bad - you know how I hate
water?
DAVID
Yah, you probably walked across
the Rio Grande.
MANNY
Sorry, hombre, I wouldn't be
any good to you on this one.
THE TELEVISION Only Manny watches as Sherry endorses the latest beauty product.
MANNY
Davy, there's that girl you
showed me a picture of.
Sherry something?
DAVID
Yah.
MANNY
Still seein' her?
Embarrassed, David twists his glass. Manny's accent is now intermittent and more fatherly.
MANNY
You goin' to make an honest woman
out of her or just sit there and
believe all that crap the company
hands you about relationships?
DAVID
You know how it is, Manny.
MANNY
No, I don't know how it is.
How is it?
DAVID
Can we change the subject?
MANNY
Hell no. You're my partner, but I'm
the Senior on this job and when
something affects you, it affects me.
(David squeezes the glass)
You don't even write her, do you?
DAVID
That's about the size of it.
AT THE OTHER END OF THE BAR, CATMON'S HAND
with a the very long little fingernail coils around a glass and squeezes till the knuckles turn white. In the b.g. David and Manny continue their discussion.
CATMON
(seeing David)
Carson. Shit, Mon!.
Catmon pulls his hat down around his ears and walks past David to the door.
MANNY
You're afraid aren't you, amigo?
Afraid of a commitment.
DAVID
Hell, Manny, I don't even know
where I'll be tomorrow. Or if
I'll even be alive. How can I
get married?
MANNY
Who said anything about marriage?
Manny swigs his beer like a sailor.
MANNY
David, I'm married. The hell with the
consequences. You think that by ignoring
Sherry she'll just go away and disappear
and you won't have to face your feelings?
You just can't live that way, hombre --
CLOSE ON A WOMAN'S BEAUTIFUL HAND AND NAILS
JANE, a manicurist, paints the "latest" designs on long and delicate fingers at a -
FANCY BEAUTY SALON IN BEVERLY HILLS.
JANE
You haven't even told
the guy? I think you're nuts.
Jane moves to the last finger as the hairdresser hands Sherry a mirror.
JANE
You can't be a model forever, sweetie.
Besides, kids need fathers.
Sherry sits nonplussed, covered by a cape and thoroughly enjoying the attention and pampering.
SHERRY
I know.
It's something I always wanted.
Sherry slowly rises from the chair, removes the cape and reveals her very pregnant state.
JANE
Well at least call him or write him.
Do something ! You're too cool
for own good, sweetie.
DAVID AND MANNY ON A NONDESCRIPT SHRIMP BOAT OFF ROATAN.
THE SMALL COASTAL TANKER BOBS IN THE DISTANCE -
just beyond the reef. With Manny, David checks the instruments, then points to the -
SCREEN OF THE DEPTH FINDER, -
it shows an indentation capable of handling a submarine. The CAPTAIN of the boat walks toward them.
DAVID
That's it - the only way in, or out.
CAPTAIN
I can't maintain this position without
being spotted.
MANNY
(raises finger)
One more minute.
SHERRY'S BEDROOM.
Sherry's hair is tied back with a red ribbon and she holds her stomach in pain as she waddles carefully to the bed. She looks at the phone with a longing glance.
SHERRY
Call…damn it…Call.
SMUDGE, HER IRISH SETTER, ENTERS THE ROOM -
and nuzzles her as she sits on the bed. She pats the dog's head with great affection. The baby kicks once again and Sherry reaches for a glass on the bed stand and downs it like
A sailor. Painfully, she scoots herself up on the bed, rolls on her side and pets Smudge in nervous repetitive strokes. Tears well from her slowly closing eyes.
THE SHRIMP BOAT, -
David quickly puts on a wet suit and diving gear.
THE COASTAL TANKER, -
Catmon hastily puts on a wet suit and diving gear.
SHERRY'S BEDROOM: A DREAM SEQUENCE
Sherry's eyes slowly open. A soft, warm, glowing smile covers her face. A new-born infant rests on her flat tummy.
SHERRY
Hi, Tommy. I'm so glad you're here.
We're going to have such a good
time together. There's so much to do.
(beat)
You're going to have a dog and play football
and have lots of toys. I bet you're going
to be really smart and grow up to be
a great man just like your father.
TOMMY
Mommy.
SHERRY
Yes, Tommy.
TOMMY
Where's daddy?
SHERRY AWAKES, COVERED WITH PERSPIRATION, -
as Smudge licks her face. She looks at the clock; it's still early. Quickly, considering her condition, -
SHERRY MOVES TO THE CLOSET -
and rummages through some of David's belongings, looking for some clue to his whereabouts. She pulls a business card from a suit pocket, studies it, -
PICKS UP THE PHONE AND DIALS
RECEPTIONIST'S VOICE
(flat and damnedly impersonal)
Mr. Benson's office. May I help you?
SHERRY
Yes, I want to reach David Carson.
RECEPTIONIST
I'm sorry. There's nobody here by
that name.
SHERRY
But I'm his - ah - his wife.
RECEPTIONIST
Just one moment, please.
BENSON'S VOICE
Benson here --
(fading into)
THE SHRIMP BOAT STILL OFF ROATAN.
THE CAPTAIN POKES HIS HEAD OUT OF THE COCKPIT.
CAPTAIN
Carson, there's a call for you.
DAVID
Not now.
CAPTAIN
It's from control. It’s your wife.
DAVID
(astonished)
My what?
CAPTAIN
Make it snappy, you're on the priority line.
MANNY GIVES DAVID A FRIENDLY SHOVE FORWARD -
and he stumbles, duck-style in diving fins, the few steps down to the phone.
DAVID
Who the hell is this?
SHERRY
David. This is Sherry, Sherry Lynn.
Remember me?
The conversation sounds impersonal and tinny, peculiar to ship to shore calls.
DAVID
(angry as hell)
What the hell. How did you
get this number? Don't you realize.
SHERRY
David, I'm pregnant. The baby is
due in four weeks.
David is speechless. He looks wildly at the radio set and then counts the months on his fingers.
SHERRY
David. are you there?
DAVID
I'm here
SHERRY
Did you hear me?
DAVID
I heard you
There is silence on the other end. The speaker crackles with static, then clears.
DAVID
(static again)
You'll have to get an abortion.
SHERRY
What?
DAVID
I said , you'll have to get an
abortion!
SHERRY
David, I can't.
(static)
. weeks left
(static)
. be wonderful.
David, worried that Manny and the Captain have heard too much of his shouting, fiddles with the controls nervously. As the channel clears, he speaks slowly and surely.
DAVID
I know you can hear me now. My receiver
is bad. Now listen.
(moving knob)
I can't come back there right now.
I'll be there as soon as possible.
(unheard conversation as David fidgets)
Sherry, Sherry.
Don't - repeat don't - use this channel
again! For anything .
He bangs down the mike, sits back and looks at the cabin roof with anger and despair.
MANNY, NOW IN THE COCKPIT,
puts his arm on David's shoulder in a calming motion.
MANNY
Cigars, anyone?
UNDERWATER, IN THE CORAL REEFS, DAVID –
has a panoramic view of the beautiful tropical fish and coral formations. He examines some freshly blasted coral rock and is suddenly grabbed by -
CATMON'S HAND WITH THE VERY LONG FINGERNAIL .
ANOTHER BLACK MAN -
slashes the line to David's regulator and inflicts a serious wound across his chest. Now -
DAVID -
sinks to the bottom as -
THE TWO BLACK DIVERS -
let him go and swim away. Suddenly --
TWO WELL AIMED SHOTS –
from Manny's spear gun plunge into the backs of the divers.
DAVID –
rises slowly from the bottom, breathing directly from the tank without a regulator. David moves some -
CANNISTERS -
hidden on a coral rock outcropping, sets the timer and with -
MANNY –
heads slowly to the surface.
THE CORAL ROCK EXPLODES INTO A THOUSAND PIECES -
SHERRY'S HOUSE - THE DOOR SLAMS.
IN THE ROSE GARDEN, -
THE CAMERA paints a serene and peaceful picture of Sherry, dressed peasant style with a red bandanna in her hair, lovingly tending the roses around the poolside patio. Smudge chases butterflies around the garden and keeps her company. David, in the shadows turns and walks away.
A MAHOGANIED OFFICE AT CIA HEADQUARTERS, LANGLEY, VIRGINIA -
where David sits in front of a large desk with it's computer and American flag. Next to the flag, a larger - than - necessary framed photo of a stereotypical Chevy Chase family - Father, Mother, and the required three cute Children.
David studies the pastoral scene outside the window when BENSON a CIA Bureau Chief, strolls in with his head buried in a report. Ignoring David, he sits behind the desk with a show of importance. Benson, thirty five-ish, and self-consciously Ivy League,
affects a silk tie and reading glasses. He has thin lips and a pinched mouth; his hair is carefully trimmed and brushed to conceal a receding hairline. Benson is the consummate bureaucratic appointee. He is small-minded, class-conscious, and vindictive toward anybody or anything that threatens his ass-licking status within his little empire. Finally, he is a world-class example of the Peter Principle - incompetent and
concerned only with "the record." As one might expect, there is no love lost between these two.
As Benson frowns and delicately coughs at the material he is reading, David loses patience.
DAVID
Fascinating stuff, huh, Benson?
Benson lowers his reading glasses and looks up as though just aware that Carson has been waiting. He coughs again delicately.
BENSON
Sorry, Carson. The synopsis -
(tapping it)
of the Caribbean incident isn't clear.
DAVID
No? Why not?
Benson rises, walks over to the view window and stares out. From behind him:
BENSON V.O.
I'm not sure "why not," as
you put it. I rather hoped you
could help us on that.
DAVID
Get to the point.
Benson turns, showing anger, and walks back to the desk, picking up the report and slapping it down.
BENSON
Did Ramirez directly authorize
the use of explosives under the
circumstances?
DAVID
There was a submarine pen there,
Benson.
(nerviously fidgets with pencil)
What are you getting at?
BENSON
(as though to a child)
What I'm getting at, Carson, is this
proclivity of yours to take matters
into your own hands. we are not
interested in drug trafficking.
Is that clear?
The phone RINGS and Benson picks it up.
BENSON
Yes? .
Of course. Put him on.
David stands and begins pacing.
BENSON
Hello, Stuart, good of you to call.
No, not at all.
(looking casually at David)
Yes, we're looking forward to it,
all of us.
Plan on it, Stu. The family will
enjoy the diversion, I'm sure.
Thank you, Stu. 'Bye.
Benson hangs up, smiles as though he has a secret.
DAVID
(stops pacing)
Done with the important stuff?
Benson leans back in the chair, hands clasped to his chin - the thinker in deep reflection. In a deceptively casual voice:
BENSON
We'll overlook the incident - for now, Carson.
Something rather more urgent we need to discuss.
Benson reaches into a drawer, and presses the button on a sophisticated tape recorder. Sherry's call begins to play.
RECEPTIONIST
There's nobody here by that name.
SHERRY
But I'm. Ah, Ah, his wife.
David stares at Benson as the tape plays.
RECEPTIONIST
Just a moment, please.
DAVID
She violated Rule four B in the manual.
Ain't that a bitch? ﾍ
TAPE (cont'd)
Benson here.
Benson shuts off the recorder, smiles smugly.
BENSON
As I understand it, she's a.
(with distaste)
model. ?
David, flushed, doesn't answer.
BENSON (cont'd)
What you people do in your private
life neither concerns nor interests
me, Carson.
Unless it reduces your effectiveness.
David glares at the man.
BENSON
Your. Ah. friend used an
agency line - a secure line - for
this distasteful business.
(flips his rolodex)
I'm prepared, however, to overlook
that also. Provided you terminate
this compromising relationship.
DAVID
Why, Goddamn you and your.
(searching for words)
Tight - ass little soul!
Benson rises, blustering.
BENSON
Careful, Carson. You may be a
big man with the illiterates down
there, but up here you're nobody .
David, with cold contempt, starts for the door.
BENSON
Get rid of her, Carson.
David is at the door now, his back to Benson.
BENSON (cont'd)
. and the child and those pills.
David leaves, slamming the door almost off its hinges.
THE OUTER OFFICE, -
Manny, in a three piece suit, sits on the secretary's desk showing off pictures of his grown family and his wife, ROSARIO.
MANNY
. and this is my wife, Rosario.
David storms through and Manny follows with a puzzled look.
BENSON ON THE PHONE IN HIS OFFICE.
BENSON
.that Sherry Lynn matter, Bob.
See what you can do.
A STAIR CASE AT THE END OF A CORRIDOR WHERE -
Manny tries to "shush" David as officious-looking people walk by.
MANNY
Calm down, amigo.
(looking around)
This is the real jungle.
DAVID
We're nobodies to these sons of bitches,
Ramirez!
(mimicking Benson)
"Terminate this compromising relationship".
I'd like to "terminate" that little Ivy
League asshole!
MANNY
(chuckling, despite himself)
The Son of a Killer Tomato?
Come on Davy,
(pats David on the back)
This is a game. You know it --
I know it. The guy with the most points
at the end of the game -- he wins.
DAVID
Nobodies!
MANNY
Forget it. Now go home and do the right thing.
We all need someone. a woman to remind
us that we're human. so we can laugh
and cry and piss our pants when we're scared.
Just like real people.
DAVID
You could've made a fortune if you
weren't a dumb Mexican, Manny.
MANNY
(pushing David with a grin)
So who says I haven't?
SHERRY'S PATIO, AN ARTIST'S EASEL, -
where Sherry, dabbed with paint, works contentedly on a -
PORTRAIT OF TOMMY -
at the age of six. TOMMY is a cute little bugger with curly hair, freckles and big, big eyes that are windows to his soul.
DAVID MOVES OUT OF THE SHADOWS -
walks softly towards Sherry, then pokes his head around the canvas.
DAVID
So hows' about somethin' to eat
for a famished warrior?
Sherry looks up in astonishment.
SHERRY
(flustered)
David! Oh David.
SHE RISES AND MOVES TOWARD DAVID AND - FREEZE FRAME - THE TEARS IN HER EYES.
AN ITALIAN RESTAURANT CLOSE ON SHERRY WIPING THE TEARS FROM HER EYES -
and AD LIBS apologies to David for not being able to control her emotions.
SHERRY
I'm sorry. I thought I had it under control.
thought I had it all under control,
DAVID
It's okay, I'm here now.
A beat, then -
SHERRY
David, did you come back because of
the baby?
David absently twirls spaghetti on his fork and some falls.
DAVID
What twisted messes lurk in the
hearts and minds of men?
Sherry is obviously troubled but afraid of re-opening old wounds.
DAVID
I'm not sure, to be honest.
How does someone figure out
why they do something, really .
I just do what I have to do.
David eats ravenously like someone unaccustomed to civilization. Sherry reaches for his hand but he absently pulls it back, then moves to fill her wineglass; she puts her
hand over it. He nods, fills his own, and drinks.
DAVID
That picture you were painting out
in the yard, Sherry.
SHERRY
Yes?
DAVID
It was of the baby, wasn't it?
SHERRY
Yes.
DAVID
How.Did you have. ah - amio.
You know. One of those tests?
Sherry fiddles with her silver and seems very shy.
SHERRY
Amneocentesis? No. I had a dream.
It sounds silly.
(laughs)
I thought you always wanted a boy.
DAVID
I do?
They both laugh and David reaches for her hand.
SHERRY'S HOUSE, TOMMY'S ROOM, -
there are lots of nice baby things. David, in old work clothes, paints a wall blue, while Sherry in the corner on a stool, tries to fasten a hanging mobile above the new crib.
SHERRY
Do you realize how ridiculous you look?
David steps on the short stool with Sherry and takes the mobile and attempts to hang it.
THE STOOL ROCKS PRECARIOUSLY.
SHERRY
David! I'm going to fall.
David grabs her around the middle and then rests his arms in a hug. David kisses the back of her head and smiles.
DAVID
A brilliant strategy!
SHERRY
It worked, didn't it?
DAVID
(back painting)
What do you mean, "ridiculous"?
SHERRY
Huh?
DAVID
You said I was ridiculous.
SHERRY
I said you "looked" ridiculous.
(turning from her work)
There you are -- superspy.
Painting a wall --
(giggling)
-- just like any other poor slob!
David turns, throws a brush at her, missing closely deliberately.
DAVID
And there's the sexy model all the
poor slobs' wives are jealous of - -
doing the same things they do.
Only not as well.
THE DOORBELL RINGS.
SHERRY
I'll get it.
David hangs the mobile, looks at the crib and then returns to his painting. O.S. Sherry signs for a delivery.
SHERRY WALKS INTO THE ROOM CARRYING A BEAUTIFUL, SMALL, PACKAGE.
SHERRY
I wonder who this is from?
She tears open the card. David shrugs.
SHERRY
(mystified)
It says, "A tisket a tasket, a red and yellow
basket.". What on earth?
DAVID
(taking the card)
Huh?
David tears open the package and finds a silver spoon and a letter addressed to David. Taped to the handle of the spoon, a message scrawled in Spanish.
SHERRY
Well? What does it say?
DAVID
(tearing it off and reading)
It says: "Vaya con dios, nino, de Manuel
y Rosario.
(laughing)
Some good friends of mine, Sherry.
They're betting on a boy too.
David opens the letter and reads it silently.
RAMIREZ V.O
Davy: I hope your little President
of the United States to be is
better looking than his daddy.
I talked to the Tomato -- you've
got a month's leave. You're too valuable
to lose. Besides, you know too much.
Regards, Tortilla Fats.
David laughs and pockets the letter.
SHERRY
(archly)
Too funny to share?
DAVID
No. It's about work.
Not important.
He puts his arms around her, but a shadow crosses her face.
A SOUND STAGE IN HOLLYWOOD.
Sherry sits at the edge of the set having her face touched up by a MAKEUP ARTIST, who looks quizzically at her neck.
MAKEUP ARTIST
I've never seen anything like this before.
SHERRY
My doctor tells me that a lot of
women get them during pregnancy.
The makeup man dabs the spots.
MAKEUP ARTIST
There. That should do it.
Now go get em' and break a leg.
Sherry heads for the set in a regal waddle. O.S. the DIRECTOR AD LIBS a setup for a commercial.
DIRECTOR V.O.
Okay, roll it.
SHERRY
Hi! You know me. I'm Sherry Lynn.
The Shampoo my husband and I always use
is Crown 500. It keeps your hair manageable
all day even in the most strenuous activities.
On the word husband , David in the shadows, winces, turns and walks through the giant doors into the glaring sunlight.
DAVID WALKS ALONG THE SANTA MONICA BEACH -
picks up a piece of driftwood and breaks it, and tosses the pieces into the water. He stops and with a forlorn look, watches the setting sun bathe the waterscape, then picks up another, longer piece and writes –
NOBODY in the sand.
A QUIET, NEIGHBORHOOD BAR, ON THE WEST SIDE OF L.A.
David has been doing a little controlled drinking by the count
of empties on the bar. His words to the BARTENDER are slurred.
DAVID
You know buddy, I might be a nobody,
you know, a chameleon, a man without
shape or form but --
BARTENDER
You said it.
DAVID
-- but I'll be damned if my kid is
going to be a nobody .
David slams his glass into the bar and it shatters.
BARTENDER
I'm going to get you a ride home, buddy.
A PARK IN FULL BLOOM
David lies against Sherry's stomach on a blanket, a picnic basket at their side.
DAVID
I just felt the little guy move.
(turns to face stomach)
Hi! Can you hear me in there?
(puts hand to stomach)
He moved! He moved! He heard me!
Sherry's hand finds David's.
SHERRY
You'll be a great father, David Carson.
A SERIES OF HIGHLY STYLIZED SHOTS TO APPROPRIATE MUSIC:
SHOWING DAVID ACCEPTING FATHERHOOD.
AT THE DOCTOR'S OFFICE, DOCTOR DODD -
hands David the stethoscope - David listens intently to the heartbeat, then smiles.
AN INFORMAL LAMAZE GATHERING -
with a group of expecting parents, in the living room of an INSTRUCTOR'S house. She AD LIBS breathing and relaxation instructions as -
SHERRY, STRETCHED OUT - on the floor, snuggles against David's shoulder.
SHERRY'S BEDROOM, -
David and Sherry hang the completed portrait of Tommy, which now has a bursting star above Tommy's shoulder, over the bed and in a warm and tender expression of feelings,
THEY KISS.
A LONG SHOT OF DAVID AND SHERRY -
walking down a tree-covered lane in the late afternoon, hand in hand and looking like a commercial for the wonderfulness of all the things expected from childbirth and love.
A BEACH, -
where David throws a football high into the air and then catches it. Sherry sits under an umbrella contentedly watching his every move with the book "A CHILD'S GARDEN OF VERSE" at her side and --
DAVID SLIDES IN, TO AN IMAGINARY TOUCHDOWN -
beside her, then snuggles up to her tummy and AD LIBS an imaginary conversation with the unborn child. "It's going to be a great life. I'll teach you how to fish and swim and play ball and I’m going to cut back on work, maybe even quit."
SHERRY
You believe in fairytales, don't you?
DAVID
Of course. I'm prince charming aren't I?
DAVID AND SHERRY WALKING DOWN A VILLAGE STREET
eating the biggest ice cream cones you can buy with a childlike simplicity.
DAVID
(over music)
I love you, babe.
SHERRY'S FREE HAND - finds it's way to David's back jean pocket.
A PICKLE BARREL in the Farmers Market, where David holds a dripping -
FRESHLY DUNKED PICKLE -
and Sherry moves her head in a "no way" motion.
A GIANT OAK TREE, WHERE SHERRY SWINGS INTO VIEW -
and David, pushing from below, is - LAUGHING and childlike.
SHERRY
(above music)
Higher and higher into the
sky so blue.
THE SUBJECTIVE CAMERA - takes a few swings, leaps and -
SHERRY LANDS IN DAVIDS ARMS .
MATCH DISSLOVES TO:
THE SHORES OF LAKE TAHOE
AS "THE WEDDING MARCH" PLAYS.
DAVID MOVES INTO THE CAMERA -
and carries the radiant Sherry down a set of steps and away from the waiving WELL WISHERS, who include Manny, his gentle wife, ROSARIO (ROSY) and Joe, who looks out of place anywhere but in the jungles.
SHERRY TOSSES THE BOUQUET, - and unbelievably it lands in Joe's folded arms as everyone gets a good LAUGH and in the f.g. -
DAVID AND SHERRY MOVE - on towards their car.
SHERRY'S BEDROOM
DAVID STANDS OVER SHERRY STILL IN BED.
DAVID
Come on, come on. You can't stay in
bed all day. The world awaits.
David throws open the drapes and then the doors and stretches, breathing deeply.
SHERRY V.O.
God, I'm happy.
DAVID
I never knew that life could be so beautiful.
Sherry rolls over and smiles at David. The splotches on her neck are more visible now and David frowns as he sees them.
DAVID
(bending over to look)
The doctor sure these are only
from your pregnancy?
SHERRY
(pulling him down)
Yes. You worry too much.
(beat)
But it's nice.
A TOY SHOP WINDOW -
filled with custom-built models of ships, planes, trains and dozens of hand-painted toy soldiers all in a row.
FROM POV - INSIDE THE WINDOW, DAVID WATCHES WITH FASCINATION.
IN A MODERATELY STEP-PRINTED SEQUENCE:
the "Giopetto" like shop keeper stands in the window and moves with -
DAVID'S POINTED FINGER -
on the other side of the glass, to each toy he picks out as -
SHERRY WATCHES IN AMAZEMENT.
THE WINDOW EMPTIES, ITEM BY ITEM -
until only the leaden toy soldiers are left.
THE OLD SHOPKEEPER LOOKS AT THE TOY SOLDIERS -
and shakes his head as David, hesitates, looks at Sherry, then -
NODS A YES AND THE -
SHERRY V.O.
You men and your war games.
- THE TOY SOLDIERS DISAPPEAR.
A WONDERFULLY OLD, CARVED DOOR OPENS - and David laden with packages above his head trundles out with -
SHERRY, JUST BEHIND HIM, -
pulling a shiny red wagon, filled to overflowing with toys.
DAVID
You know we're crazy, sweetheart.
SHERRY
Isn't it fun?
THEY WALK A FEW PACES
Then suddenly, Sherry falters and grabs for David's arm.
SHERRY
(with urgency)
David! Get me to the hospital!
A SHOT OF DAVID FRANTICALLY THROWING PACKAGES
all around Sherry in his small sports car.
THE OVERFLOWING CAR MOVES -
through the city streets with -
SHERRY IN PAIN, -
but trying to keep the toys and packages in the car.
THE FAMILY BIRTH CENTER IN THE HOSPITAL, -
furnished to make one feel at home, with bright wallpaper and casual furniture. DR. DODD a wiry, weasel of a man, with a face that would wilt a flower, flits around the room, giving directions to a NURSE in a nasal, high-pitched voice.
DAVID STANDS BY SHERRY'S SIDE, -
COACHING her with the Lamaze instructions. Sherry CRIES out with pain and David wipes her forehead.
DAVID
Relax. Relax. Now try again.
(beat)
Okay, push. Harder.
Breathe sweetie. A deep breath.
Again, push.
After a beat.
DAVID(cont'd)
Now relax. try it again. concentrate.
David's face reflects Sherry's pain.
DAVID(cont'd)
That's good. Push again. Harder.
Now breathe.
Sherry's face is a mass of painful contortions and then A BABY'S CRY fills the room with excitement.
DAVID
By God, Sherry, we did it!.
The Nurse places the newborn baby on Sherry's chest, in the same position as in her dream . David takes off his shirt.
NURSE
It's a boy, Mrs. Carson. A darling little boy.
SHERRY GENTLY CARESSES THE CHILD -
against her breasts and then lovingly hands him to David, who holds him against his bare chest in a bonding gesture.
SHERRY
Welcome to the world, Thomas David Carson
She hands the baby to David, who looks at the infant with amazement. The baby SQUALLS as Dodd leaves the room.
DAVID
I'd yell too, buddy.
He gingerly places Tommy back on her chest as she grimaces in pain as the unseeing nurse leaves the room.
SHERRY
David, something's wrong . I feel
like I'm lying in a puddle.
David pulls back the sheets to the spreading puddle of blood.
DAVID
What the hell. ?
SHERRY
(almost hysterical)
Where's the doctor?
Where's Tommy?
David unglues .
DAVID
Tommy's right here, Sherry.
(looking around wildly)
The nurse has gone for the doctor,
Babe, hang on!
The growing pool of blood spreads across the sheets between Sherry's legs and she CRIES OUT in pain. David pushes the call button above the bed, then takes Tommy off Sherry's chest. The infant CRIES.
DAVID
(yelling)
nurse. Nurse. NURSE! .
The nurse comes flying into the room, looks at Sherry, pushes the emergency button, and takes Tommy from David.
NURSE
I'm sorry Mr. Carson but you'll
have to wait outside.
David gives Sherry a helpless look.
SHERRY
I'll never leave you and Tommy,
David. Not ever.
David grabs Sherry's hand.
NURSE
Mr. Carson.
DR. DODD AND SEVERAL OTHER NURSES - briskly enter the room, David walks reluctantly to the door and glances back.
DAVID
Sherry, I love you.
SHERRY RISES PAINFULLY - off the bed and blows David a kiss.
THE OPERATING ROOM
Dr. Dodd works frantically over Sherry Lynn, now comatose. IV's and plasma tubes run to her body as they try futilely to stop the bleeding.
DODD
(in desperation)
Nurse. Get Doctors Bradley
and Hodgson in here, immediately!
IN THE HALL
David paces up and down like a caged lion, slamming his fist into his cupped hand. A nurse rushes by him and David hooks her with an outstretched arm.
DAVID
What's going on in there?
NURSE
(pulling free)
Mr. Carson go down stairs
and get yourself a cup of coffee.
It's going to be a long night.
LATER, IN THE OPERATING ROOM, -
several DOCTORS including Dr. Dodd are still frantically working to stop Sherry's hemorrhaging. Sherry's vital signs are failing as indicated by sophisticated instruments hooked up to her. Doctor 1 looks at them with despair.
DOCTOR 1
God damnit, Dodd. Did you
do a biopsy on those splotches?
Dodd shakes his head and the EKG flattens out with a BEEP. Doctor l looks at the EKG, sighs, and stops working. His shoulders sag in defeat. Dr. Dodd looks bewildered and
frightened.
DOCTOR 1
Nurse. I want all the records
on Sherry Lynn - Carson.
OUTSIDE THE COFFEE SHOP -
David, now with coffee, continues to pace and then walks to the cigarette machine, tosses the money in and looks at the headline on the nearby newspaper rack.
INSERT:
MYSTERY SUB TRAPPED IN CARIBBEAN CORAL REEF.
BACK TO:
DAVID'S FIST GOING FORWARD, -
Yes...
- in a punch of victory, then stopping short as the Nurse moves into view behind him and places her hand on his shoulder.
NURSE
We did everything we could
Mr. Carson, but we lost her.
DAVIDS HANDS FIND HIS
NURSE
Your son is beautiful.
DAVID
(dully)
So was his mother.
NURSE
(cuddles baby
You can take him home tomorrow.
But David is gone.
A CEMETARY, -
on a dreary day, where an ornate burial ceremony in the b.g., is conducted by a Catholic Priest.
SEVERAL TINY ALTAR BOYS -
with curly hair and big eyes swing -
THE INCENSE BURNERS, -
on chains, slowly back and forth, misting the ceremony. Well behind the mourners -
DAVID PULLS HIS HANDS AWAY -
from his red – unshaven face. Dark circles outline his eyes; his hair is total chaos.
THE CAMERA MOVES OVER -
the group, which includes Manny, Rosy and Joe as the Priest gives the last eulogy and -
DAVID - opens a small box, pops a red pill then -
TURNS AND WALKS AWAY.
FADE OUT:
TO THE JUNGLES OF CENTRAL AMERICA.
Subtitle: FIVE YEARS LATER
GRADUALLY, TINY LIGHTS FLICKER AND THEN DIE ON THE BLACK SCREEN. AFTER A BEAT, A VOICE BREAKS THE SILENCE.
BENSON O.S.
Carson. The man responsible for
the death of several Marines in the
capital is "Cajon." Bring him to justice.
CLOSE ON A ZIPPO LIGHTER IGNITING -
and the shadows of several men fade into the screen.
DAVID
Joe. Give me a smoke.
JOE
If you going to take up another nasty
habit, I wouldn't start with these, Bubba.
David grunts.
THE SCREEN FADES TO A DEEPER, "GREENER" BLACK -
the RUSTLE of men moving through the jungle can be distinctly heard for a few beats.
MANNY
(rustling closer)
They're down by the river, Davy.
(beat)
Rosy found a real nice Stanford Grad
student to take care of Tommy.
DAVID
Yeah.
MANNY
She knows an awful lot about children.
Where you going Davy?
(beat)
Anyway her name is Jean Morrow and she'll
be living in your. Damnit Davy. You don't
even care do you?
DAVID
I - don't - do - kids!
A FIREWORKS DISPLAY OF -
blue tracer bullets and fiery explosions lighting -
THE GUERRILLA CAMP BY THE RIVER AS THE -
SURVIVORS run from David and his men. David with machine gun BLARING and enjoying every minute, runs into one of the make shift huts as -
JOE AND THE REST OF THE COMMANDOS -
carefully skirt the huts and the perimeters of the encampment looking for stragglers.
A FIRE-LIT CLEARING -
at the rear of the engagement. Manny works the combat radio.
MANNY
Okay, let's get the hell out of here.
DAVID MOVES INTO THE CLEARING -
pulling MARIA, a soft, beautiful, dark haired wisp of a young woman with fiery eyes and a temper to match. Several younger children follow.
DAVID
Keep an eye on them.
They're dangerous.
MARIA
(pulling away, accented)
No good. no good banditos.
Tu eres la mismo.
Todo gringos es la mismo.
MARIA AD LIBS more lines of vulgar dialogue in Spanish , then spits in David's face. He starts to slap her, then checks. The GUNFIRE is now intermittent.
MANNY
It's okay, muchacha. It's okay.
Soy Americanos. Tu eres libre.
Soy, amigos. Donde is su
pueblo? Ta gusta regressa?
SUBTITLES AS NEEDED:
Maria stops her struggle.
MARIA
I don't believe you.
MANNY
(in English)
David, let her go.
(in Spanish)
You're free Senorita.
MARIA STANDS BEWILDERED, -
then moves away cautiously, the children follow. She bumps unseeingly into the bulk of Joe who practically knocks her over. Joe, steadies her and then removes his hat in his best country Texas manner.
JOE
Sorry Ma'm.
JOE PULLS OUT A CANDY BAR, -
hands it to Maria. She takes it, hesitantly, then shares it with the children. Joe can't keep his eyes off her.
MARIA
(Spanish to Manny)
I was forced from my home
along with my brothers and sisters,
(gathering them in)
to keep their camp clean.
(beat, embarrassed)
Then I was forced against my will
to sleep with "Cajon" their leader.
. And my parents had to bring them
food and supplies to insure our safety.
MANNY
Did you guys understand that?
JOE
(hand on her shoulder)
It's Okay, little missy. Yo comprendo.
MANNY
What happened to "Cajon"?
MARIA
He got out through the tunnels.
.
DAVID SLINKS INTO THE FOLIAGE
MARIA (con't.)
He's in the mountains by now.
MANNY
Did you hear that Davy?
(looking around)
Where the hell's Carson?
TOMMY'S BEDROOM -
PAN over scattered toys and playthings and then STOP on Tommy, five years old, snuggling up to his mother's dog, SMUDGE. THERE'S A TEAR IN HIS EYE, -
he SOBS, then -
PETS SMUDGE -
in a repetitive motion, similar to Sherry's.
THE DIM LIGHT CASTS SHADOWS ON TOY SOLDIERS -
lined up in battle formations, covering his bed and some of the floor.
THE CAMERA PICKS OUT ONE SOLDIER BY A TROPICAL PLANT AND
MATCH DISSOLVE TO:
DAVID, GUN IN HAND, STALKING THROUGH THE JUNGLE -
as the early morning sun breaks through the trees. David tracks THE CAJON and doesn't realize he's a dozen yards ahead.
A TWIG SNAPS -
CAJON FREEZES.
DAVID FREEZES.
CAJON MOVES FORWARD, -
soaked with perspiration and fearing for his life, moves cautiously. A bird's CAW gives Cajon a start and he pumps the last rounds from his submachine gun into the trees and the gun jams. Cajon fights with his gun as -
DAVID MOVES IN FROM BEHIND, -
CAJON turns, trembling -
A LOOK OF FEAR COVERS HIS FACE.
Speechless, he sinks to his knees, fumbles in his pockets and pulls out a roll of currency. He holds it up to David.
DAVID
(taking the money)
Sure, pal. Mordida. I understand.
DAVID SHOOTS, - the man jerks back, and in rage David shoots again and again, -
CUTTING THE MAN TO RIBBONS.
David bends over and stuffs the roll of money in Cajon's mouth.
THE COMMANDO CAMP AT THE BREAK OF DAWN,
Manny, Joe and several other MEN sit around the camp drinking coffee and talking informally as Maria offers refills.
MANNY
(to Maria)
No, no more.
(to Joe)
Carson worries me, Joe.
JOE
(looking at Maria)
Speaking of Carson, what did he ever
do about that kid of his?
MANNY
Rosy found him a live in nanny.
Its a god-damn shame.
DAVID STRIDES INTO CAMP AS PROUD AS A LION -
and covered with blood. In the clear light, David has visibly deteriorated, his hair is longer, stubble covers his face and his chest is bare.
MANNY
Where the hell you been?
DAVID THROWS THE BLOODY HEAD -
of Cajon into the middle of the men. Every one jumps. Maria lets out a CRY of anguish.
DAVID
(breezily)
There's your god-damn pervert.
David, unconcerned, walks over and pours a cup of coffee.
MANNY
You. you're more of an animal
than they are.
(very harshly)
They're going to take you back
in a cage, Carson.
David sips coffee, his face expressionless.
A SERIES OF SHOTS COVERING A PERIOD OF TIME:
DAVID, hunts rebels, stalking through the rain forest alone.
ANOTHER CAMP -
with different men, David sitting alone eating.
ON A PLATEAU OVERLOOKING THE SEA, -
DAVID sitting, arms on knees, looking somewhat more human, showing pain for the first time, fighting it.
DAVID AT A ROADSIDE CAFE IN A SMALL VILLAGE, -
watching children play in the dusty street. David is dressed in clean clothes, is shaven, and though still not a candidate for most eligible bachelor, the new lines in his face give him a thoughtful, expressive appearance.
MANUEL AND DAVID WALKING A BEACH IN THE EVENING -
in brief companionable silence. David pulls out the pill box and Manny knocks it away with a sweep of his arm.
DAVID
(kicking sand)
I'm sorry, Manny. Thanks for
hanging in there.
MANNY
No sweat.
(beat)
Thing is, amigo, you've lost a
lot. But you still have part
of Sherry. the boy.
(beat)
Don't let him go. like
that asshole Benson -
David stiffens at mention of the name.
MANNY (cont'd)
- wants you to.
DAVID
What can I do? God help me, I
can't walk out -
(gesturing)
- on this.
MANNY
A man can always do something .
Do what feels right, amigo
(beat)
And to hell with the rest.
DAVID'S MODEST HOUSE IN SAN FRANCISCO, -
in a bedroom turned into a makeshift study, JEAN MORROW, the new housekeeper/nanny works at a desk. She is about David's age, slender, dark, sad eyes, but attractive. She gives the impression of a bright, sensitive woman who has been hurt,
has withdrawn somewhat and buried herself in her graduate studies. Outside the open door, Tommy, now about four, and with his back to us plays with some large computer-looking toys in the nearby, cluttered living room. The phone RINGS and she picks it up.
JEAN
Hello?
(beat)
I can't. can't hear.
(beat)
Oh, Mr. Carson. Yes, yes.
Just a moment.
(closes the door)
Mr. Carson.
(beat)
He's doing fairly well.
(long beat)
No he's fine, but he does tend to
stay by himself. He's awfully shy
and he doesn't make friends very easily.
Jean takes a deep breath as though bracing herself for what she has to say.
JEAN (cont'd)
Mr. Carson I'm worried. He starts school
this year and he needs you or someone.
I just feel.
The door slowly opens and Tommy, unseen, peeks in.
JEAN (cont'd)
(beat)
I know. He's a very intelligent boy.
so intelligent it scares me.
(beat)
You know I only agreed to stay until
I finished my dissertation.
Tommy silently disappears.
JEAN (cont'd)
(beat)
Yes I'll be here for a few more.
(the phone goes dead)
Hello. Hello?
Jean opens the door and looks at Tommy innocently playing.
JEAN
That was your father, Tommy.
He sends his love.
TOMMY
Are you leaving Jeanny?
JEAN
What ever gave you that Idea, Tommy?
INTERCUT:
A SERIES OF ELAPSED TIME SHOTS IN THE SAME LOCATION:
A PHONE BOOTH OUTSIDE A CRUMBLING ADOBE, WITH DAVID -
talking on the only pay phone in town. About a dozen people of all varieties wait in various stages of impatience.
DAVID
If it's a question of money,
I'll give you anything you want.
A LITTLE OLD LADY -
pounds in anger on the door of the phone booth. David tries to shoo her and listen at the same time. The CROWD fidgets in increasing anxiety over David's long call. ﾍ
BACK TO:
DAVID'S HOUSE -
where Jean talks on the phone again with David. As she talks this time, Tommy, sits amidst even more toys and through the window, watches other children flying kites on the Marina Green.
JEAN
I'm truly sorry Mr. Carson.
The boy needs you. He's too
bright for his own good.
THE PHONE BOOTH -
where David in different clothes stands and returns the glares of the now larger CROWD, made up of many of the same people who were in the previous Phone Booth Scene. The same little old lady walks slowly up to the side of the booth and begins to pound as the angry crowd CHANTS in Spanish to get off the phone. In the b.g., Maria and Joe watch in amusement.
DAVID
Jean, I can't get back
there right now.
And an even larger crowd made up of many familiar faces. Now the little old lady pounds on the door with her cane.
DAVID
I'll be home in a week.
Lets talk about it then.
The crowd is agitated this time. The little old lady pushes the booth and is followed by others. The booth rocks back and forth. In the b.g. Joe and Maria double over with laughter.
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