FATAL ATTRACTION by JAMES DEARDEN and NICHOLAS MEYERma, FATAL ATTRACTION Screenplay by JAMES DEARDEN and NICHOLAS MEER PROPERTY OF PARAMOUNT PICTURES CORPORATION THIS SCRIPT TS NOT FOR PUBLICATION, PERROCUCTION AR DISTRIBUTION WETHOUT TRE EMPRESS PERMISSION CE PARAMOUNT 7 CORPGRA IF LOST OR DESTROYED, PLEASE NOT! STORY CEPARTMENT . RETUSH TS STONY DEPARTME: FINAL SHGOTINS SCRIP7 PAAKMOUY? PICTURES Co4PORATION 5555 Melrose Avenue January 1987 Los Angeles, Cal emia 99038 PPARAMOUAT PICTURES CORPORATIONEXT. NEW YORK CITY - NIGET The CAMERA IS HIGH ABOVE Manhattan. surveying the sity skyline. Low clouds glow dimly, reflecting the {llumi- nated by{ldings and the street lamps below. The SOUND OF TRAFFIC filters up, faint and distant. BLOW DISSOLVE TO: EXT, UPPER WEST SIDE - WIGHT The CAMERA DRIFTS toward tne upper stories of a group of thirties style apartment buildings. Most of the windows are lignted. SLOW DISSOLVE TO: EXT. APARTMENT BUILDING - NIGHT CAMERA CLOSING IN on one individwal window. Through the slatted blinds ve glimpse 2 bedroom. A WOMAR in bra and panta closes che blinds with a quick swivel of the blades, INT, GALLAGHER APARTHENT - NIGHT Aniable chaes. BETH, a good-looking woman in her thirties, leaves the window, going fe and from the pathroom, She trips aver an earphone extension cord. which leads to DAN, her-husband, also mid-thirties with open good looks, flipping througn law texts and legal pads, bifecals sliding on his nose . We can Eaintiy hear Schubert's SYMPHONY #4 through the HEAD- PHONES. ELLEN, an adorable chiid of five nolding a coloring book, is lying spravied on the next couch, intently watening TV, Now and chen, Dan holds up his hand in front of her face, blocking out the T¥ screen. Ellen oblivicus to Dan's attempts to distract her, moves her head around his hané for a clear view. BETH {laughs} You better get going, kiddo: we gonna be late... ELLEN {overzapping? Be can't bear your Mommy... (CONTINUED |CONTINUED: The PEONE RINGS, overlapping... BETS (overlapping) Ob, great. She goes into the bathroom, leaving the PRONE RINGING and Dan, happily oblivious. Ellen sizes up the situa- tion and goes qver to her father. In a familiaz qeature, she pulls off one side of the earphones. ELLEY Daddy! Telephone! DAN tatactled) Buh? Oh, thanks, honey... He stands up and neads for the phone, revealing that ne's only dressed From the waist up, in erisp white shirt and tie. Below the waist it's shorts and socks, On his way ta the phone, he trips and stubs his toe. INT. KITCHEN AND HALLWAY - NIGHT DAR (gr imacing) Helio? BILDY (0.5.3 Das, are you ekay? It's Hildy. DAN i, I'm fine. 1 just stubbed ay koe. Hang on... {shouss} Beth? [e's wildy! He calls out to the passage, to the open bathzoom door, INT. BATHROOM - NIGHT BETH (0.5. ) T'Ll cali her back. DAN (to Hildy? she's in the bathroom. IEBY (0.50) Can you ask her what snes wearing? (CONTINUED)CONTINUED: DAR She wants tO know what you're wearing. IWD. GALLAGHER APARTMENT - BATHROOM - NIGHT Beth is standing in her bra and pants in front of the Bizrot above the hand Basin, starting on her makeup. Ellen stands beside her in a nightdress, playing vith her mother's makeup, which is scattered chaotically. Beth is hare: a column of fd, panicky, late. Ellen is twisting up petick. BETH (shouts) Hy black suit...! ite Ellen) Don't deo that, honey, you'll get if all over your hands. DAN (te Hildy] Ber black suit. BILDY (0.5.} Oh... it's going to be smart? INT. KITCHEN - NIGHT DAN You know what these things aze like. It's business. HILDY (0.5.3 Ask her if she thinks ay red dress 45 oxay. Dan smiles to himself, shaking his head good-nacuredly. DAN (to Beth? Qo you think her red dress is okay? INT, GALCAGHER'S APARTMENT ~ BATHROOM - NIGHT BETH (full sf toothpaste) Perfect! {CONTINUEDCONTINUED: AR She says it's perfect. Okay, “bye. {See you Later. She looks down at Ellen, wha has complerely flattened the tube. BETH (dismayed) Ellen... now look whak you've done. She takes the lipstick away, registering its condition. BETS (eentimiing] 1 needed that. ELLEN I'm sorry, aETHE It's okay, honey, ft's okay. INT. GALLAGHER AFARTMENT - BEDROOM - NIGHT: Wow Dan is rummaging in the wardrobe, searching among the clothes. DAR Where's my blue suic? The DOORBELL RINGS -- DAN {gontinuing} Dammit, thece’s Christine... INT. GALLAGHER APARTMENT - ZATHROOM - NIGHT Beth straightens up.in response to Christine's arrival knocking a jar of cream onto the floc: where it SRAT~ TERS vith a’ SFLAT. BET Smite... (shouts) It's aa the back cf cne door!... (Watch out for the glass.} Bon't come in here, honey! She stoops te pick up tne preces.oh 140A, a CONTIN! - BET (continuing: mutters) Shit, shit, shi DAR {in bedroom) Oh... (thanks, honey). Ellen waddling down the corridor. ELLEN {zing-song) Shit-shit-shit. BETH (0.8.) Ellenti OMITTED INT. GALLAGHER APARTMENT - HALLWAY - NIGHT Dan and Beth arg giving CHRISTINE, the babysitters a Bildly “new wave" teenager with a red streak in hi wir, instcuctions. Sam pads acound axcitedly. Beth looks elegant in a black tailored suit. her hair pinned up with @ comb. BETH There's some lasagne in tne Fridge. and f've left the numbers where we'll be on a pad by the kitchen phone. CHRISTINE {self-confident) Sure. DaN (teasingly) And no parzying, é'you near? CHRISTINE But I've already sent the invitations. ban (grins) Can I come? CHRISTINE You're tog oid (CONTINUED)ub 12 13 14 CONTINUED: DAN Thanks, kiddo. Bers I thought wemp vere lace? She pulls him out into the outer baliway with her. OMITTED INT. JAPANESE RESTAURANT - NIGET A large teception. The restaurant has been taken over for the evening and cleared of tablew so that the guests can mill about. Waitresses in kimones pass in and out with trays of tasty sushi goodies and glasses of champagne. A publishing house is launching a new book -- A Japanese exercise manoal, hence the theme of the eccasion. Dan and Beth, looking elegant, work thelr way towards the stairs, Dan grabs hands, pounds backs, working the roam. BETH Oh, leok at this! DAN Rey, Chuckie, you playin” hall on Friday? Great. we're in the cellar, can use every lawyer ve got... Hiy yeah, T mean, oo, next week... un, Wednesday, yean, see you in court... Jesus! He and Bech have reached the staics to the main room. Beth pats her hair. BET Is my hair okay? pan (eating) You look greas. BE1S Dan, I'm asxing you. BAN Honey, you're the cutest gir here... Hey! (CONTINUED)a4 15 16 CONTINUED: Before Beth can say what she thinks of “cute,* Dan's face has suddenly aszumed a mask~like smile az he secs someone approaching. He nudges Betn in the ribs and she follows suit. DAN teontinging? Bi, Bob! How are you? BOR DRIMMER, senior editor at Robbins and Bart, arriv alongside, working his way around the ro0%. Hé’$ wear ing a neck brace. Eis eyes dart from side to side as he"pumps Dan's hand, his mind already on Ris next move. DRIMAER Glad you could make it, Das, Sorry about the meeting tomorrow... I know it's Saturday, but we'va got a real erisis. DAN That's okay, This is my wife, Beth -- Bob Drimmer. ETE Row do you do? ORIMMER Pleased to meet you, ACROSS THE ROOM A voman vaves to them over a sea of hands. BILDY Beth! vs. BETH, DAN AND DRIMMER Beth lights up on seeing HILOY. She waves back. Orimmer seizes the opportunity to move on. DRIMMER 3 Rope you Like sushi! DAN Leve it. h and Dan pysh fervard thequgh the crush and meee up n Hildy and JIMMY. BETA What happened ta his neck? (CONTINUED;18 7 CONTINUED: a DAN He was making lave to his wife. BETE (alvays falls for Dan's stories} Bre you serious? Dan! cAN It's the truth, anor You should see his wife had to take her away on a atreatcher! they Laughter. The tuo women compliment each other on their respective outfits. Jimmy and fan gravitate cowards gach other. Jimmy works in the same law firm. fe raises his glass, only to have his arm jogged by a MAN eltoving past. Champagne goes all over his shirt Front. Betctg Thank you! The Man half-turned, with a shrug. MAN (moving on) Sorry. Jimmy dabs his shict front with a handkerchief. SIMMY Fuck!... What great cultural event are we here to celebrate, anyway? DAN Some new exercise manual. JiMME (groan Not anothe: one. This ana's di some Japanese ¢' nt Samuca, Sa by ‘s based on disciplines. THEIA POV Over the other end of the zoo question is being introduced a table display cf his Dooxs. the Japanese Author in Re Guests in Ak OF 1008Ww 18 a9 20 CONTINUED: He xeeps nodding and bowing politely. TIMMY (¥.00) Look at that man nadl Bo you think it’s part of the treatment? They branch off into their version of Samurai Delica~ teszen, amusing each other but slowly getting separared from their wives, Lots of pidgin Japanese. ANGLE - % that moment, an extremely attractive blonde GIRL Passes by, heavily ogled by Jimny. JTRMY Hi, there... She turns and gives him a look to make hell freeze over. Sne holds the look a fraction longer, then turns and moves on. JIMNY (sontinwing} Shi-ic. IE looks could kill- DAN Very good, Jimny, very good!! I awe you haven't lose your touch. (I like your moves!) GENERAL VIEW 0? THE ROOK Time has elapsed. Groupings have changed. t's ever moce crowded. INT, MEN'S ROOM + NIGH? Dan enters, passing somecne standing az a 2 DAN Bi, Arthur... ARTEUR that you, Gatlaghec? DAN Yeah... how's it goin’? ARTHUR ill thinking about e country? Fine. fou s maving ta cl20 21 lo. cownrauED> . DAN We'ra still talking about it. ARTHUR I tried it once — for about four years, Hartsdal DAN Yeah? (and?) ARTEGR I couldn't take the commure. The trains were alwags breaking down. (pointedly) what 1 should have done vas waited "eil they made me a partner. DAN (Well, arthur.) [rl see you later, Arthec. ARTHUR Yeah... If J ever Ginish harg, INT. RESTAURANT AREA - NIGHT Dan tries to make if fo the bar Bis taute takes him past the Giri whe cold-snouldeced Jimmy, They almost bump into eacn other. Dan is slightly distracted by what Arthur seemed to hint at. DAN (to bartender} Can I have a champagne? Their eyes meet and they smile. DAN (cont iaging) I’m not saying... T'm not even looking at’ you! ALEX Was it that bad? Bast Put it this way, I'm glad [ wasa'e on the receiving end. ALEX 1 hate ne way seme guys think they have a : . (CONTINUED)zi 22 z3 24 1. CONTINUED: DAN Jiemy's okay... A little insecure =~ line the rest of us... There is a shight pause. She's looking at him with evident interest, so he doesn't mova on, and she really is sensational-lockiag. She must be in her thirties, but she dresses younger, trandily, and gets away with it. DAN (continuing) . I'm Dan -- Gallagher. - ALEX Alex Forrest. They shake hands. DAN Alex... What's your connection here? ALEX 1 votk for Robbins and wart, I'm an {aggociate) editor... And you? DAR tsmiles} I'm with Miller, Geodman and Hurst. 1 do ali your legal work. I'm-sucprised I’ve never seen you around. ALEX T just joined them a couple of weeks ago. Something across the room catches Dan's attention, aIS POV Beth bas seen him and is signaling they all want to leave. BETH'S POV Dan waves back and indicates he’s coming, GAN AND ALEX He shrucs apologetically- (CONTINGED)24 25 26 27 12. CONTINUED: DAN I've gokta go. ALEX Is that your wife? DAN xes- ALEX {teasingly) Well, you'd better run aleng them, DAN : Very nice to meet you. See you around. {Some time.) ALEX Nige to maet you. Re walks away. She watches him go, clearly intrigued. INT. GALLAGHER HALLWAY - NIGHT The conversation of the wamen d lit hallway. ta in from the dimly BETH (0.$.) Thanks, Christine. CHRISTINE (0.8.1) Any time, Mrs. Gallagher. INT. GALLAGHER BEDROOM + NIGHT Beth enters the bedroom and sits down in the pearest chair to take hee shoes off. She@ lecks acroga the bed. She iz looking at Dan, sitting and starting ro take his shict off. BETH Aren't you forgetting somenning? She gestures. Dan follows he: look. Sam is waiting. INT. GALLAGHER APARTMENT - NIGHT Dan and Sam re-enter. Ajl the takes off nis jacket and feels nis wa: Be unbuztons his skirt an¢ moves ca nts are e€f. Dan inte the hali. ously forward.2a 28A 22 a0 13. INT. GALLAGHER SEDROOM - NIGHT Dan enters tentativety, and stops in the doorway, ooking at tne bed. His face drops. Ellen (s curled up next to her mother. BITE thatf asleep) She had a bad dream... just for tonight, honey... San Yeah, yeah. Be smiles resignadly and watks toward his side of the bed. ‘OMITTED INT. GALLAGHER APARTHENT BUILDING LOBBY - DAY (SATURDAY) The elevator doors open. Beth, Dan, Ellen and the dog are crammed inside witha small bicycle. They hurry trough the lobby. DAN (TE you Like it) when you see it, don't say anything, for.Ged's gake, of we Gan‘t negotiat BETH Honey, what ave you worried about? Ellen, aze you chewing gum again? AN {You know) we can't afford this house. ELLEN padéy... Daddy.. DAN What, darling... BETH No harm looking, is there? It's just up the coad from Mom and Dad. DAR That's anether goce reason for not buying it. (CONTINUED)La. 30 9 CONTINGED: BETH » J didn't hear that. Ellen. f want that gum... : PAN Good morning, Chris. DOORMAN Good morning, Mz. Gallagher... We continue TRACKING them up to a little Yolvo stacian. wagon parked at the curb. BETH Let’s not worry about it now, okay? I haven’t even Seen the damn place yet. I may not even Like ies holding out her hand} Ellen, the gum, please... She surrenders it. Ellen climbs into the back seat. Quincy the dog naturally follows. AN fqrabbing Him) No, Quincy, mot this time... ELLEN Bat, Daddy, I want him... DAW Daddy will be all alone! He holds the dog by the leash. Beth starts around the var to the driver's side. BETH (consolingly) I'm sorry. Quincy... You won't ferget tO walk Bim, will you? DAN I promise: BETH Have a good mesting! Love ye... pan Thanks... (t love you too} Ee throws her a kiss as she gets :ato the car. Eli waves at her window. (CONTINUED)30 aL a2 73 15. CONTINUED: 12) ELLEN ‘Bye, Daddy! DAN Say hello te Grandma and Grandpa! The car moves off. Dan walks avay with the dog. OMITTED INT. ROBBINS AND EART - OUTER OFFICE/LOEBY - DAY INT. ROBBINS AND EART - CONFERENCE ROOM - MORNING Sob Oriamer and a couple of guys from tne business af~ fairs department are seated around the conference table with a SECRETARY. Dan comes in with a briefcase, Gen- eral helles -- everybody seeas to know each othe Therg's a ganeral air of emergency. Drimmer is skill wearing a neck brace. People are deinging take-out coffee and nashing on bagels. DAN Hi, Bob. DRIMMER Hi, Dan. I'm sorcy to ruin your weekend, Please give my apalogies ve your lovely wife. DAN {laughs} Ro problem, she's used to it. How's your neck? Any better? DRIHMER Don't ask. Henry's out of town, so I've asked Alex Fotrese to stand in for him at the metting... Has anybedy seen ner? SECRETARY She's on har way. DAN (ewink bing! While we're vaicing, you vansa tell os what really hapoened to youc neck, 3ob? (CONTINUED)33 16, CONTINUED: DRIMMER That's cute, very cute. 1 was planting gecanioms... Dan ean hardly suppress a laugh. & shis moment, hew- ever, Alex comes through the door, slightly out of breath. Morent of recognition as her eyes meet Dan's. ALEX Sorry, I was just getting the File. ORTMMER ‘Dan, this is Alex Forrest, our no associate editor, DAN (smiles) We've met before, He and Alex shake hands. ALEX (businesslike) Belle. Hi, Bd. Alex sits down, The meeting begins, ORZKMER Let's get started. if we may. Okay, Dan... DAN Okay, here's che deal (stozy)... You want to publish a novel in which one of the chacacters is a Senator from New Jersey che sleeps (fools) around. & Congressman from Ohio claims the character ig based on him and has filed an injunction against publication. DAIMMER Look, the Congressman's bald, this guy has hair, ne's from anothe: State, for Cheiasakes... Look, if we can‘t sell chese books, we're screved, DAN Well, that's all Eine... but if I'm gonna go iato court and prove the Senate! t based upon this Congressman, 1 have to know the truth (MORE: (CONTINUED33 3a 3 wy CONTINUED: 2} baat (CONT'D) Now, strictly {strictly speaking) between these walls, did tne author have an affair with Mr. Qhio or not? Drimmer glances at Alex, nods imperceptibly. ALEX Yeah, sne did, But then, she's ulso had an affair with a lot of ether politicians. Any one of them could Make thia claim. She swears the character's fictitious =- I just got off the phone with nec. “(1 just talked to her on the phone. DAN And you believe her? ALEX Yeah, I believe her. Dan takes a bite of his bagel and Eeaves a dab of cream cheese on his nose. Alex smiles and signals to him. Gratefully, he wipes it off, smiles back. DRIMMER Good. Now that that's on the table, Jet's see if We can move ahead. How soon can we have this injunction lifted? I've got 25,000 books in a warehouse gathering dust... OMITTED EXT. ROBBINS AND KART BUILDING = AFTERNOON It's pissing rain. Dan emerges, wrestling futilely with a portable wabeelia, it's a losing contest a5 ve DOLLY BACK to reveal he has arcived at the curbside next to Alex, who's searching for a taxi. Apruptly, all the rsds tear through the flimsy material simultaneously: Dar sees he's next to her. She"s got an umbrella, She approaches him, smiling. ALEX “wade in Taivan"? (CONT INT:as 36 1a. CONTINUED 38 . DAN Bey, lock, these are tough to find... Don't laugh! (Do you believe this??} Be chucks the umbrella in che trash bin and puts his briafease over his he: His Face lights up. ALEA On, wait, wait... Bere, I've got one... DAN Bey, Duddy, come cnlt [How about giving us a break!) TREIR FOV - A SINGLE CAB dcives towards then. Dan and Alex crane their necks hopefully as the cab turns on its "Of Duty" sign and passes. . ALEX Oh, come ont! DAN Can you believe this? They stand there, getting wetter ag the rain intensi- ies. DAN (continuing) This is hopeless. De you vanna get a drink someplace till it stops? ALEX ¥ean, come on. they cun off down the streex. TNT. BAR/RESTAURANT - LATER They sit at the bar of a nearby restaurant, The place is packed. A NOISY HUBBUS comas from tne dining area. Alex £ her drink. THEIR POV ~ A MAN cones in from the streec, drenched and qursing. {CONTINDED}36 a7 is. CONTINUEDS 36 DAN {reacting to this) Want another one? ALEX {looks at her watch) I'm searving, Have you got to be anywhere? DAN fo... you wanna mat? ALEK (smiles) call, I wave to make a pho She gets up and goes te the pay phone, an watches her go, intrigued by the developing situation. LATER; They 3it opposite each othe: at a snug table for two the atmosphere is comfoctable and relaxed. They're evidently getting along well. He's telling he: « stery, putting it over vith zest, performing for her benefit. (Various AD LIBS leading inte dialogue below. } 7 BAN Strangest case I ever handled? Well, the truth is I sever actually handled it, but the strangest case I ever came near was when my parents decided to get divorced and wy mother asked me to represent her. ALEX You're kidding. BAN That's what [ said to her. “Whaddaya mean," ahe told me, “you kiow what a bum the guy is, you've heen an eyewitness to this marriage fot twenty-nine years!" Can you imagine this -- from my own mocher? ALEX How did you get out cf it? (wnat did you do?) {CONTIRLED}37 20. CONTINGED: DAN Well, you can't just turn down your mother. T ascaped on a eennicality. ALEX (laughing) Which was? DAN I told her I didn't practice family law == which was true. She bought it. A waiter moves in to clear the table. ALEX (You're making this up.} Dan (Whe could maxe this up? (shakes pis head) Walter!) The vaiter walks on, ignoring him, DAN (continuing) It takes a special touch don't nave the special touch)... This is my favorice rescauzant. 1 have a lot of pull mere jin this restaurant)!! Oh, miss... A WAITRESS comes over DAN (continuing) You want coffee? {as Alex nods} Gan we get two coffea, please. S goes Off. Alex is vatching him with a She lights a cigarette, offers him one. Dan {eontineing) No, thanks. [t's dunny, being a lawyer's a lot like being a docter. Pecols tet you in on their innermos: secrets. ALEX You must nave to be discreet. _(CONTINYED}au. 37° CONTINUED: (2) Daa That's right. ALEX (smiles) Are you? DAR An 1 what? ALEX Discreet, DAN tironically) I’m very discreet. ALEX (without emphasis) Me too. She holds his gaze for a beat, teazingly. The Waitress returns with their coffee. + WARTHESS (to Alex} Crean? ALEX teoldly) Black. The Waitress turns to Dan with the cream. DAN I'm fing, thank you. She leaves, ban offers the suger to alex. ALEX Not for me, She watches aa he stirs sugar inzo his cup, There is a momentary lult. DAN You know what rea. y surprises me... (Can J ask yoo something) (1 don't understand)... You were free... Woy den't you nave a date a+. Satucday ni attractive as you! (Scmeone as {CONTINGED)22. 37° CONTINUED: © (33 ALEX . ft did have a date. 1 stood him ap. That was the phone call T can ig flactered by this information, as was no doubt intended. He cannot suppress a little smile. alex Retices and laughs lightly. ALEX {eontinuing) Does that make you feel good? Dan makes no reply, changes bis mind, laughs. DAR Tt doesn’t make me feel bad. ALEX Se. Where's your wife? Taken by surpeise, Dan fumbles for his words, almost choking on his coffee. DAN {splutters} My wife...? She's... er... in the we country... for the weekend... visiting her parents. ALEX (teasingly) And here you are... He holds up his hands as if to protest Ais innocence. ALEX (continuing; Shakes her head) Being a naughty boy... paw We’ re having dinner. Is that a crime? ALEX (smiles) Not yet. DAN it be? ALEX i don't know. What de you chink? (CONTINUED)a7 38 thru aa 23. CONTIMTED: (4) (sai! 1 think... it you. } "sg gonha be up ro She smites. She's enjoying the game. ALEX Well... Ican't say yet. I haven't made up my mind. {I can't decide.) sne holds hia gaze. There is 4 moment of complicity. DAN At least you're honest. ALEX We were attracted to each other at the party. That's obvious. You're on your own for the night. We're adults. DAN Let's get.the check. OMITTED INT. ALEX'S APARTMENT - KITCHEN - NIGRT A pot of coffee is percolating. Alex and Dan are pressed against the kitchen sink, kissing savagely, He Tifts her up onto the counte: as chey grope at each other's clothes, dropping his paats, lifting nar skirt. As she leana back, her hands brat ig hersel& in the wink, She accidentally starts the faucet running. she splashes water all over sim vith her wet mands. There iz acmething savage about theie lovemakiag. Finally Dan picks Alex up and, with her legs still wound around him, makes fis vay clumsily from kitchen te bedroom. His pants, which are 5 gathered around his ankles, threater co trip him up, but he manages to make it the bed, They fall on it vogethe:. (CONTINUED }43 at 45 a4, CONTTNUE! Ba tyrna her over, and during the wild rolling and pushing that follows, they get closer and closer to the edge of the bed, and finally land on the floor, exmausted. Some time later, we find them lying on the bed, still breathing heavily. ALEX ‘That was greati DAN Thank God. She starts to nugzle nim, ALEX Ace you feeling energetic? DAN What did you nave in mind? ALEX wanna go dancing? He looks at her incredulously, not quite sure whether to laugh. INT. GALLAGHER APARTMENT HALL - DAY Tne hall is in semi-darkness. a shaft of light coming through from the sitting room, Sam is lying asleep against the front door. The PHONE starts to RING, The machine cuts in. The TAPE IS WHIARING with Dan's announcement. INT. “CAT CLUB" - NIGHT The place is packed owt, the MUSIC ovespowering, This tc Regine’s; it's lover East Side, very punk. Seri ous dancing. The dance Etoor. ‘The CAMERA TRACKS over the Gancers witil it LOCATES Daa and Alex, They're expending a ten of energy. A.ax looks at him and grins. ALEX tshouts} You'ra a great dancer! Dan What. (I can't hear you. (CONTINEED}45 47 4a as a, CONTINUED: ALEX thoarsely) I said... Porget it! Alex shrugs, with a big, laughing smile. Suddenly, she expoxes a breast. Dan looks quickly around. Tt just for hin. EXT. ALEX'S APARTMENT BUILDING - NIGHT Tk's almost morning. DAN AND ALEX are walxing through the deserted meat market area. Alex has ner hand in Dan's. DAN (uncertainy This is where you live?? ALEX Yeah, DAN now where { can get a cab? He looks at her uncertainly. She simply pulls nim the building. OMITTED INT. ALEX'S APARTMENT BUILDING ~ ELEVATOR - sIGRt They make their way ta the huge, old-fashioned freight elevator. Dan steps into it and leans against the far wail. Alex deftly pulls at the heavy iron gates. ALEX Mave you ever done it in an elevator? DAN Not racently. ALEX T'Ll bet pou haven't. (CONTINag 50 52 52 26, CONTINUED: She slams the gate shut and pushes the button. As the elevator slowly Tises out of sight, she throws herself at Dan. INT. FLEWATOM - NIGHT They are making love, bouncing off the walls of the glevator. Their bodies and faces are briefly illuminated by the pasging neon lights seen through the windows. Finally, Alex reaches to stop the elevator betw floors. She drops to her knees in front of him, As he moans loudly, ve hear the STEPS OF SOMEONE APPROACHING, an almost strangles Rimself trying to be quiet as he sees a pair of feet walk by on the eye tevel Eleor, Desperately, he reaches out and pushes the button, starting ther down. INT. ALEX'S APARTMENT BUILDING - CORRISGR - NIGHT Dan and Alex are racomposing themselves. He clears his throat. His haic is disneveled. She clings te his ara as they walk the few yards to her apartment. . They Lean against the wall at the apartment door, axhauated. DAN (hoarse) Holy shitit Alex kisses him, then briefly leans avay from nim, She reaches up outside hec apartment door and produces 4 Nide-s-wey; trembling, unlocks the decor, while Daa Kisses her on the neck. The door opens. ‘They eater like Siamese teins. INT. ALEX'S APRRTMENT BEDROGN ~ DAHN The early morning Light Eilters in through curtaias, eqld aad grey, (CONTE:53 53K sé SS 56 57 5S 7, CONTINUED: We FADE IN to s CLOSE SHOT of Alex, fast asleep, and slowly FULL FOCUS onto Dan's Eace, large in fereground. His eyes Flicker and open. As we TRACK BACK, h@ care— fully disengages himself from her arms and gets out af bed without disturbing her. ANOTEER ANGLE Dressed, Gan places a note by the bedside. OMITTED * | INT, GALLAGRER APARTMENT HALL - EARLY MORNING Quincy is asleep against the front door, awaiting his master’s retucn. He wakes at the SOUND OF FOOTSTEFS, wagging his tail in anticipation. A KEY 18 INSERTED! in the lock, the door opens, and Dan comes if. Quincy jumps up eagerly. DAN Good boy. Quiacy. Yeah, I'm gonna take you aut in a minute. (We'll go out in a mincte.) He sees the message indicator winking on the answering machine and goes to REPLAY TRE TAPE. Thecé are a COUPLE OF CLICKS before BETH'S VOICE comes on. BETH (¥.0,) i. What happened to you? tried you earlier... 1 quess you're not back. ['m gding to bed Now, ao call me in the morning. The MACHINE BEEPS and starts to rewind. Dan leoks pensive. He MOVES OUT OF SUOT, revealing 2 framed photo af Beth and Ellen. INT. GALLAGBER APARTMENT BATEROGM - DAY Dan Luxuriates in the streaming jets of cleansing water. & large inflatable Mickey Mouse doi: grams in the b.g., suspended from the ceiling. INT. ROGERSON ROUSE - GREENHOUSE JOAN ROGERSON answers the phone. (CONTINUED)28, $9 CONTINUED: TORR Hello? On, Dan (darting)... we were expecting you! 58 INT, GALLAGHER APARTMENT - KITCHEN - DAY Dan is pacing. ge locks clean and fresh after his ablutions. He's on the phone. DAN Ywan, I know. f'm porey 7 couldn't make it... 35 INT. ROGERSON HOUSE - KITCHEN - DAY Joan Rogerson, Beth's mother, is an attractive fifty year old. ‘The house is comfortable and lacge. without lecking expensive. It's the house Beth grew up in. JOAN ves.,, [t's a pity, we really wanted you to see this house... $98 INTERCUT - DAN Dan Well, I'L] see it next time. JOAN Yes. of course; you want to speak ke Beth, I guess... DAN yes, please. JOAN Yes. hold on a minute... Beth, phone...! Voan opens the kitchen windew and calls te Beth, who is laying a game of footba. mothe garden vith Elen and ner father, KOWARD. Beth comes inte the greenhouse. JOAN It's Dan. welt, nella. you? happened to (CONTINUED)524 CONTINUED: Joan cuns She rakes DAN (vaguely) Gh. T ended up having dinner with Bill. arty You sound like you got a hangover. DAN (defensively) No, f feel fine. BETE Bow is he? DAN He's, uh, same as ever. You know Bill. (just Bilt) outside. JOAN . Ellen, be carefuli BET Is he still with chat girl? DAN Well, he wasn't Laat night... 2 think it's over. He didn’: seem te want to ralk about it. BETH So, are you getting any work done? DAN Yeah, t'm vacking (very) hard. BETH Sounds like it. Listen, there's some of the spaghetti sauce in the fridge if you get hungry. DAN Bight... How's Ellen doing? BETH She's having the best time. 1 just hope Sad sucvives it. 1 don't know how ts tell you chis, honey... the phone and sits 4ewn, tracing nersel£. (CONTINUED }SoA CONTINUED: 20. ay EETE {eontinuing) se. She wants a rabbit. pAN Bo rabbit! Honey, this family’s gonna turn into Noah's goddamn atk. Give her a kiss and no promises. When are you coming home? BETS Well, it's getting complicated... DAN (How come?) Why is thae? BOTH There's a problem vith the house. DAN {hepeful] They solé it? BETH Very funny. No. It turns out that we can’t see it until late this afternoon. Darling, i'm not up to fighting all that ¢caffic. Ythought I'd drive in (first thing} tomorrow morning. DAN {disappeinced} Bogsn’t Fllen have school? BETH She's five years old; uhat‘s sne gonna aiss, trigonometry? DAN (rebut EE Youn. Okay. I'll see you wnen z get home from wari, BETH Okay... 'By#, sweetie, DAN Take car. okay? Have a geod Love you a ioc.) ime. (CONTINUED)SOA 60 604 als CONTINUED: (3) He hangs up. He remains there for a moment, sitting pinsively.. Almogt inmediately, the PHONE eincs again. He picks it straight up. assuming it's Beth calling back. oAN Yeah? ALEX'S BEDROOM - HORNING ‘The room is in semi-darkness, the only light coming through @ ¢rack in the curtains. . Alex squats on the bed, ina black kimono, Lighting up her £iest Cigarette of the day. She is still a litele aroggy from Sleep and looks very disheveled -- ina word, rough. ALEX What happened? I woke up and you weren't Ehece, {2 hate that.) INTERCUT - DAN Dan Didn't you see my note? ALEX What note? DAN E lefe you a note, by the bed. ALEX tsgeing it) Ons. treads it) That's cice. But I thought we were going to spend teday together. DAN . I've gat so much work... ALEX Why don't you just come over? T'hl cook us Lunch. DAN I've got this dog zo Look after. (This dog hasa't peen cut of the nouse all day) [ can't leave Rin alone day. (CONTINUED)650A a2. CONTINUED: ALEX Bring the dog. 2 love animals... Cane on... I'ma great cook. DAN (weakening) Listen... I'd love to, Alex, really, but ~~ ALEX Look, do what you have to go and then come over. We can always eat tate, if you want. . BAN Okay... Maybe later on. ALEK (persisting) Ov... you can work here, {von disturb you. I'll be a good girl, you'll see, DAN (amuged) You don't give up, do you? ALEX You should be flattered. DAN (laughs) Iam... Okay, but I'm gonna do gome work Here first. then I've got to take the dog to the park for a walk. ALEX Alright -- ['1E meet you at the Blast Street entrance at one a'elock. EXT, CENTRAL PARK - DAY Quincy is running in the park with Dan and Alex. They catch op vith each osher, and start roiling around i the grass, fighting for Quiney's ball. Dan gets ut. throws the ball. Alex catches it and throws iz back to Dan. Dan sends the bai! nigh is the sky towarce Alex. This time it looks as if Quincy won't even bother chasing Dan Go ont Quincy, cow your mal (CONTINUED ;4 a3. CONTINUED: AD LIBS re football game. Alex has to run backwards to catch the ball high above her head. ALEX - Qh... Oh God... She just sanages to get there. DAN Throw it back! Gallagher is the name, football's the game! Alex laughs. Dan yella mote AD LIBS about football as he fades back for the ball. She throws the bali back, but this time it lacks length, Dan sprints forward to intercept. He and the dog are on a collision course, the ball bouncing tewards Dan. Be lunges for it, catches it. Ee runs on for a Few paces, carried forward by his awn momentum. Suddenly he pulls up, his knees buckling undec hit. He sinks slowly to the ground, clutching his ches ALEX She is ne longer laughing. She starts toward him in horror. ALEX Dan, She breaks into a run. ALEX (continuing: panicking) pant she reaches the spot where he ties. Re is unconscious. She shakes bim gently. He dossn'r cove. ALEX Dan...! Can you hear me. God! [On shitly 2 on She is reaily wertied agw. She puts her nead co his chest to listen for his heartbeat. She straightens up, Suddenly Ne pulls a grocesque face and makes @ spooky nis @ practical.y ‘umps out of skin. (CONTINUED aes ee mee ee62a 34. CONTINUED: ALEX You bastard! Dan hoots with laughter. DAN Your £ace! Your face! ALEX That was a shitty thing to do. She sits up. She's really quite upset- DAR Hey. I'm sorry. I was just fooling around. She stares into the distance. Her voice is stony. ALEX My father died of a heart attack. Iovas seven years old. It happened right in frent of me. Dan shakes his head numbly, He feela terrible. DAN (Oh homey] i'm sorry. Really 7 am... that's avfal. I apologize. Tf i'd known, [ never would have . Alex sits there, watching him squirm. Suddenly sne burst out laughing. ALEX Ha, ha! He's taken aback. It takes him a seeond or tue to catch on, DAN (Your dad's skay?) Your dad didn't die? He's aliver? ALEX e's alive and well and living in Phoenix. DAN (ruefully) Well, you gor me. I ceczainly Ceserved th. one! (cows rnveo!61a 62 63 6a oe 35. CONTINUED: (2) He looks at Alex out of the corner of his eye, as if to Say "What nave I got myself involved with hera?” She smiles sweetly. Butter wouldn't melt. INT. ALEX'S APARTMENT - AFTERNOON A TAPE of “Madame Butterfly" PLAYS as Dan and Quincy awkwardly examine the apartment. Alex comer by, wearing an apron, looking efficient, on ber way from the kitchen. She TURNS UF THE VOLUME of “Butterfly.” ALEX Let's hear it, CAMERA BOLDS on Dan's reaction: how nice to be with someone wha likes to listen to music loud. ALEX (0,5.) (continuing) T hope you Like spagherti... spécialty of the house! DAN Goes with the opera -= He uncorks a bottle of wine, trying not to notice Quincy sniffing about this strange place, He pours two glackes and Ready out. She's cooking up a storm. pan uncorks the bottle. DAN That sma2ls 59 good-,, we takes the bottle to the table and pours two glasses. pan Anything else [ can do to help? ALEX No, n0- just maxe yourself at home, You could put on ancther tape if you want. oan No, this is greac. 1 love "Madame Butterfly." ALEX (pleased) Really? Te's my fav +e opera,63 6 64 6s 66 38. CONTINUED: Dan beings her a glass. He remembers, twirling his glasa. DAN Mine coo. Tt’s the first opera 7 ever (heard) saw, My dad took me to (see it at) the old Met when I was five years old. ALEX Did it make sense at all? DAN Oh, yeah, I got the gist of it. I understeed about this 0.8. sailor getting op nouse with this Japanese girl -- I got all that. But in the last act, after he left ner and my Eather told me that she was gonna kill herself, 1 was terrified (freaked out} and Cliabed right under the chair. the listens} Right here, isn't it? (Listenss+} She nods. They listen for a moment. Dan remembers. DAN (eontinuing) Funny. ALEX What? DAN I remember it as being one (well it had ta be one) of the few cime: My Dad was caaliy nice to ma... comforting we ab "Madame Butkerfly.” He snakes nis head ac the memory and takes a driox: be fails to see how moved Alex is by this "confession." INT. ALEX'S DINING AREA - LATER aucterfly“ in b.g. daa and Alex look at each atner ove: their glasses. DAN anat?. Wnat ace yeu thinking? ¢about?) (CONTINGED}6s CONTINUED: Fe looks nar square: a ALEX (shakes her head) I'm vondering: why are all the interesting guys alwaya married? oan Maybe that’s what makes thea (why they're} interesting -- the fact that you can't have them, ALEX How long have you been married? DAN Wine years. ALEX Mave you got kids? DAN Yeah. A six year old girl. ALEX Sounds (pretty) good. PAN Yes. Well, I'm a lucky guy. ALEX So what are you doing here? DAN (uncomfartably) Boy... You tsure) know how to ask ‘en. ALEX I really want to know. took, I had a wonderful tine last right. I'd like to see you again. Js that se tereible? (awful?) DAN No... 1 just don't think it’s possible. Alex... ceally... this is very ufusuai for me. I don'= do this... ALEX It's strange. I feel Like I already kasw you, [ just wanna know where LT stand. the eye. (CONTINUED +65 66 a7 38. CONTINUED: 2} DAN I think you're terrific... but I'm married. What can I say? {So I don't know what else to say...) ALEX (I guess) Just my luck, (7 guess.) ghe raises her glass ironically and drinks, covering her disappointment. INT, ALEX'S APARTMENT - BEDROOM - EVENING The fading evening Light casts voluptuous snadows through the window. Alex and Dan are in bed, naked under the shests, Dan is asleep. Propped up an one elbow, Alex looks down at him tenderly, watching hin. All is seili. Suddenly Dan's eyes open. For a moment he doesn't know where he is, He looks at nis watch, DAN Shit! He swings his legs out Of the bed. For Alex the mood is abfuptly shattered. ALEX What are you dcing? He pulls on his shirt. DAN 1 have to go. ALEX What for? I thought you said she didn't get back till tomorrow. DAN tparientty; Look, there ave things [ have tao do. I gotta so heme. ALEX tangrity! You knaw... I don't think T like bnist! DAN Like what? (CONTINUES)a7 29. ALEX The way you keep running off every time we make love. Be looks at her and sees that she is in earnest. Indeed, there is an edge of almost manic desperation to hes voice. He tries to take the heat aut of the sitwation. DAN (gently) alex, whether I leave now or in the morning, the fact is, I gotta yo. ALEX Well, you're nee gonna go now! She grabs hold of his shirt. Stop it!! T mean it! There is a loud RIP as the shirt tears. They are both angry now. DAN What's the problem?? (What ace you doing?) ALEX I'm sorry. DAN (You gonna be) Be reasonable. ALEX Me be reasonable? What? -- thank you, goodbye, don't call me, I'll call you. Re Starts to pukton up his shirt. DAN You knew all abaut me. F didn*t hide anything. 2 thought it was all ondersccod. ALEX What vas understaod? DAN The q rhuniky was there and ve boak i! He! both adults, aren't we? (cont ima7 6a 40. CONTINUED: 2) ALEX what's that supposed te mean? ban (lamety} I thought wa could have a good hime. ALEX Wo, you thought you’d have a good tine, You didn't step for a second to think about me. DAN This is crazyl... You knee the rules -- (conten ®¥iBusiy) What roles...? Dan Look, Alex, I like you. 1 de. I’m act saying if I wasn't sien someone else... In another time and place... That we couldn't have had... I'm not free. ALEX (groans } Please! Don't justify yourself. it's pathetic Tf you just told me to fuck off 1'4 have more respect for you, Be looks at her with calm deliberation. DAN ALL right. Fuck off. ALEX Okay... Ané you -- get out! She lashes cut vith her foot, sicking Nim off th of the bed, edge INT. ALEX'S APARTMENT - KITGHEN = NIGHT Alex stands over one of the worktops. ner back to the entrance. She's wearing only a T-shir:. As San comes in, she drops something oAto the surface with & aetallic CLATIEA. DAN {flatly} (Okay) E'm leavi {CONTINUED |68 al. CONTINUED: She tucns around, a smile on her face. ALEX Why don't you come here and say goodbye nicely... Okay? Let's be friends. He advances warily. She puts her arms around his neck and kisses hin, ALEX Im gofry if T upset you. Dax Tke's okay. It's okay, She kisses hin again, more Eieccely this time, holding his face in both hands. She releases him and takes a step back, She has a triumphant gleam in her eyes. fe raises a hand to Ris che BAN Your handa are all wer. Re locks down at his own hand, which is smeared with red, then back to her. She brandishes her wriscs, giggling crazily. Blood oozes from two ugly gashes. DAN (horrified) Oh Jesus (Christy... Jesust! ALEX {taunting him) Afraid of a listle blood? Be drags her to the sink and runs cold wacer aver the cute. “She winces with pain, her laughter turning co bears. CAN Wold on... keep it under the water. dJesus Chr. ALEX I'm sorry... I'm sorry! DAN You nave a €irst aid kin? ALEX (sobbing; shakes her head) tsa.) {CONTINGED)69 70 CONTINUED: (7) DAN (unnerved) Have you got a bandage? Rave you got anything I can use as a bandage?? Bere! Bold it up... hold tight. INT, ALEX'S APARTMENT - BEDROOM - NICHT Ban bursts into the room, goss to a chest of drawers and searches for something to use as a bandage. He finds @ shirt aad tears 42 into strips. INT, ALEX'S APARTMENT - BATHROOM - NIGET Alex ix sitting on the tub, Dan croucnes in front of her. He finishes bandaging her wrists. She is silent, head Bowed, Submitting passively te his ministrations. DAN igently) Is that too tight? Alex shakes head, DAN (cont inuing} We gotta ga ta the hospital. ‘You may need stitenes. ALEX No... (I'm okay.) (All right) I'm fine. Dan looks inte her eyes, searening for an explanation. She turns her head away. ALEX Don't look at me like thar. (Why are you looking at me like that?) A solitary tear trickles down ner cheek. She tries tc fight it bacx. DAN Why? Can you cell me ‘shy? Kny are you so unhappy? She Looks at him, starts ta speak, bursts into teats ané finally gets it cut through strangled sobs. ALEX I'm so aloni (CONTINUED:70 7 Py aa. CONTINUED: The words come out in a protracted, almost priteval wail, a terrible ery of pain. She starts to weep uncontrollably, burying her face in her bandag hands. Moved, Dan holds her in his arms, stroking her hair. ALEX thetween sobs} Sometimes... I come home... and I just... git here... and there's a kind of tightness in my chest. It’s lief can't broatne. st) I'm go sorry... DAR Don't be sorry, don't be sorry Okay, it's okay. Yau don't have ta be sorry. (No reageh ta be sQRry.) ‘The tears are streaming’ down her face. We CUT BACK WIDE ta show her cradied in hiz arms, a touching, pathetic sight. INT. ALEX'S APARTMENT - BATZROOM - NIGHT Dan opens a mirrored cabinet above the basin. He is confronted by rows and rows of pills. He Finds the bottle he is Locking for and closes the door, coming face to Face with his own grim re€lection. INT. ALEX'S APARTMENT - BEDROOM + NIGHT Alex is in bed. Dan sits beside her, watching as she swallows two of the pills. she lies back, looking very pale. all hec defenses are down. She ia totally vulnerable. Darr You'll feel better when you get some sleep. I'll stay here tonight - ALEX You don’t have to. i'm okay now, Dax (sincerely) No... to. She attempts a brave smi DAH the of I'll be i need ame. er rocm if you (CONTINUED ;a4, 7200 cowPINUED: . ALEX Thank you for being so kind. DAN (paternally) Go to sleep, okay? He gets off the bed, avitening off the bedside light. §he turns over and curls vp into a fetal position. 237 INT, ALEX'S APARTHENT - HAIN ROOM - NIGET , Pan dials a number, The leaves of a large potted palm cast ominous, jagged shadows over nix face. when he speaks, he keeps his voice low afraid of belag overheard. BETE (¥.0.) Hello? DAN ai. BETH (V,0.) ~ DAR ftentatively) (How are you?) Did you just call me? BETH (V.0.) Ne. DAN groping) + Twas inthe shower and the phone rang. % thought maybe it vas you... BETS 1V.0.) fSuppresses a yawn) Nope... DAN How are you? Did you rave a good day? BETE (¥.0.1 (reviviagy We wert to see the rouse. {CONTINUED}7 7A TAR VaB as. CONTINUED: Yeah? And. ‘OMITTED INT. ALEX'S BEDROOM - WIGET Alex lies still, ayes closed, as Dan's conversation can be gaintly heard, We can’t tell if she’s listening or not. + DAR (0.8.) You did? Really? Babe, that's really tercific. You really sound excited... BACK TO DAN IN ALEX'S LIVING ROCH wee YOAne. You know I'n net against it, don't get the wrong idea. [k's just a question of the money. BETZ (¥,0-) (the goad scout) I know, Ef we can't afford tt. we can't afford it, What are you up to? DAN Mathing much. I think I'll get a bite, kick in early (go te bed early}. I'm wiped. BETR (v-0-} See you tomorrow. DAN Okay, darling. T love you. BETH (V.0.) T love you too. CAN Okay... ‘Bye. B “Bye, carling. TH ¥.0.) Can puts down the phote, deep in thougne. Feeling like sniky78 76 chs wo. INT. ALEX'S APARTMENT = BEDRGOM - NIGHT Alex is fast asleep. Dan wanders areund the kitchen and the living room, looks in on Alex on the way. Later, he sits on the living room couch, deep in thought. IFT, ALEX'S LOFT - BEDROGK - DAWN Dan is lying on top of the bed. fully clothed, his eyes open: Softly, he gets up and steps to the vindow, Pov The meat market on the corner is already in full aving. Dan leans aver the bed. DAN (softly) Alex? She wakes drowsily. Sha takes a second or cwa to focus on him, She smiles weakly. DAR {eentinuing) How are you feeling? ALEX Okay. DAN Does it hurt? She moves her wrist from side to side. ALEX twinces) A little. DAN Yean, I gotta go naw. ALEX Will you call me sometime? You don’t have to if you don't vant DAN No, no. Twill. Tf you promise me you"ll see the doctor. . (COWTINUEDa 78 1 798 ar. CONTINUED: ALE Okay. Be bends forward and kisses her chastely on the fore= head. DAN soodbye. ALEX Goodbye. “DAN You take care. ' RGEX You toc. He pauses at the door and looks back. Alex turns over and goes back ta sleep. INT. GALLAGHER APARTMENT - BEDROOM - MOANING Dan ruffles the bedcloches until satisfied the bed has a suitably slept-in Look. - INT, GALLAGHER APARTMENT - KITCHEN ~ MORNING fle opens the refrigerator, takes out a pan of spaghetti Sauce and gives it to Quincy who consumes it with relish. INT. DAN'S OFFICE AND BALL - 4 A-K. MARTHA, Dan's secretary, crosses the mall and sees Dan's door open. She goes into his office. MARTHA What are you doing here? It's wight a.m. Dan leoks up from his work, glasses sliding dun his nase. Dat (Martha, I'm io rhe snithouse.) i'm supposed fo be in court by two ane really benind. Oo me a favor, cancel everytning and eal Drimmec ~~ tell him we're fine and I'll see him there at two, (CONTINDED)7A 0 CONTINUED: HARTER . (backing cut) At wo. O-sckay... DAN Good morning, Martha!... INT. GALLAGRER APARTMENT HALLWAY - NIGHT Dan puts the key in the door and enters, somewhat pushed. . DAR - Hello? As he starts to take off his coat, ELLEN charges down the hall and jumps ints his arms. Daddy... DAN Hey. how's my main squeez Be holds her awkwardly in his arms and walks toward the kitchen. ELLEN We had a great time! [ went for a walk vith Grandza and we saw rabbits and Sally chased them but she didn't catch any and... aK {laughs} Hey, slow dovo! 1 can't understand a word you're saying! Bech is standing in the kitchen. a big smile cn her face. ULEN But, Dadéy, 1 vane a rabhit.., BETH Bi, darling... ban Hi, babe... 2 really missed you. Elien picks up bis briefcase and cacries it off, BETH Liar. (CONTINUED)eo al 49, CONTINUED: DAN I did. He kisses her tenderly, Ha puts hig arm around her and holds her tight. He Kisses her again, almost sagging with relief. BETH (laugns} I snould go avay more often, INT. GALLAGHER KITCHEN AREA - NIGHT Dinner over and Heth ts putting away dishes. START on Elien's tiny hands, attempting to shuffle a deck of cards which she then presents to fan. An aura of calm and serenity pervades. Low light, ELLEN Now pick » card. DAN any card? Ellen looks at her mother, who nods. ELLEN Yes. ban picks a card. Beth is clearing the table. DAN Where'd she learn this? ELLEN Grandpa showed me! (Of course, Grandma is too old.} Gan does, With great absorption, much ro nis delight. sbe begins to deal vith the cards into rows. DAN De I show it to you? ELLEN No... Put it back. The trick is gonna take forever. DAN (to Beth) Sa... Row was it? {CONTINUED ;ar =D, BETE (putting things away) How was what? , DAN Come on, t'm a big boy. tell me. To can take it. Ellen leans to tall him in his ear. ELLEN Tr has a place for cabbits. Dan makes a terriple face, Beth re-enters with tye exffee mugs and sits down, DAN idying gasps} She said it, she said the “Rk” word, BETH what can T tel] you... It's perfect! . ELLEN {points} Is it in this row? Dan Lifts one eye and peeks. DAN Ne. BETH (offhand) So... shen are you gonna come up and take & look -- just for the hell of it? ELLEN tpoiots) Te this row? DAN Wo. How abour first thing in merning? Bern reacts, surprised, Daddy. Which ray? Dat! {looking at Beth) one, sweetaear! {CONTINUED |81 82 83 Bae CONTINUED: (2) BETE You mean it? DAN fean, I mean it == if you can get me back by one o'clock. He's smiling, so happy to be home with them. ELLEN Wait, that’s wrong, I made a mistake. Now T hafta start overs She gathers up the cards. Fine with Dan if it takes all fight. Ext. COUNTRY HOUSE - DAY In LONG SHOT, a small two story timber house, painced white, the paint somewhat flaked. Their Volvo is packed in the drive next to anather car. INT, COUNTRY HOUSE - HAIN ROOM = DAY Their FOOTSTEPS ECHO on the bare floorboards of their empty house. Light streams in through the wide win- dows. Thece is a specteculat view over open countcy- side, Gan looks around, impressed. Beth sees this and aunggs victory. BETH well? DAN (sadles) It's okay. He is trying not te let his enthusiasm show. aetH Whar do you mean, *okay*! It's fantastic! aN (temperizing) Sh, sh.., Fantastic! [s's great, it's great. BETH (exeitedly) Just think cf al! tne money ve'l: save by net living in new fork. can get a job teachiag. once ny dipiema.a3 a4 as 32. CONTINUED: DAN tdubiously) Ohl Yeah... INT. COUNTRY HOUSE - HALL - pay They continue through toward the hall, where the AGENT, a primly dressed woman in her forties, has been hover- ing in the doorway. AGENT The local high school's excellent. : .My own children wene there. BETH You see? AGENT This really ig a terrific area for kids. DAN Bo, Itm gure. Would it be okay if Te. He points to the stairs. AGENT Please, Go right ahead. 1'21 wait (for you) dawn here (fer you}. They carry on up the stairs. an's.cesistance is weak= ening, his objections sounding lass and less convinc- ing. DAR We'd still have to decorate. BETH There's nothing ve can't fix ourselves. We can have painting parties. DAN Fa erties? Beth, you're making me very nervous. INT. COUNTRY HOUSE - LOFT ROOM - DAY The trap door swings open and Dan's head appears, fol- lowed by Beth's. (CONT MnitED) mm eee Aan i eeas as 53. CONTINUED: AN Wow! Look at this! This is fantartie! This is great! They step up inte the room. The floor ix varnished ood. ‘Two Windows have been cut in the sloping roof. The ceiling has been plasteced over between beams, Jeaving the weed exposed. A really skillful conver- sion, BETH This'd make a terrific playroom. DAN {completely won over) What are you talking about, playraom??) This BETH T knew you'd Like it! aN How about making it a nursery?! Re put tis arms around her afd gives her a big xiss. Be pushes her back toward the ficor, pretending to ravish her. She resists taughingly. BETE I already did that... Dan, stop itt She manages to trip him, They fall together on the flooe with a loud bang. Re starts to make iove in earnesc. DAK Why den’: we christea this little aucker right here? AGENT [(©.S.) Are you all right vp there? DAN Yes, thank you! They giggle == but they dant stop. 3. LAW FIRM BUILDING + CAY Tneir car pulls up outside che ‘entrance, Dan jumps out ard tung into the buziding. anea7 8B ag 54. Int. BUILDING LOBBY - DAY Dan enters the building and crosses toward the bank of elevators. Several people, including a stunning SLONDE anda baby in @ stroller, are about to get onto an elevator. Dan rung to catch it. INT. LAW FIRM BUILDING ELEVATOR - DAY Dan ia standing naxt to the extremely attractive girl. He looks at her, then studiously ignores her. He looks around, at the Eloor, and finally at the baby in the stroller. The baby stares back at him, guizziealiy. INT. LAW PIRM - RECEPTION - DAY Dan comes out of the elevate: and into the reception are, MAN I*Ll be in court. Eguice Thank you. MAN Hi, Dan, how you doing? EUNICE Good afternoon. Gallagher. DAN Hello, Eunice. Martha back fron lunch yer? EUNICE She just got back. Sitting there, waiting. is Alex. She leaks somevnat severe in a well cut dark suit, but stili very beauzi- ful. She is obviously il. at ease. ALEX aL. DAN Hello. He glances towards the receptionist, whe is watching then, She looks away. (CONTINUED)as 30 ss. CONTINUED: ALEX T hope this isn"t inconvenient. 1 was in the area... I figured... She trails off. DAN Ne, mo... Would you like to come into ay office. INT, LAH FIRM - CORRIDOR ~ DAY They walk along in silence. Alex is watching him out of the corner of her eye. They pass the open dcor of an office, inside which ve glimpse Jimny. He sees Dan and pokes his head cut the dosr. SIBMY Hey! Dar! Dan stops and turns. So does Alex, JIMMY {eontinuing) Will you be in your office lates? There's something need tc go over with you. Daal gure. Jimny is looking curiously at Alex, tying to place her. IIMEY Haven't we met scmewhe: ALEX feoolly?) I can't imagine. DAR Well... Re and Alex continue up the corrider. Jimny goes back into his office, st : ing to figure it ovr. INT - DAN'S OFFICE - DAY Thay enter the office. Martha, his secretary, is vise thequgh wae door, staring after cnem, obvicusly guec by Aiex. Gan closes the docr on her. {CONTINTEDY a |91 56. CONTINUED: Be goex and sits at his desk, pointing Alex to the chair in front. There is a bizarrely formal air te the proceedings. DAW Have a seat. ALEX Thanks. She sits. Dan can't help glancing at her wrists, which are covered by her long sleeves. DAN (awewardly} fre you okay...? I was going to call you today. ALEX I'm fine. Listen... I find tnis tercible embarrassing... I wanted te say “sor¢y" for what happened. Thad no right to put you through all that. DAN Nothing happened. Okay? But she seems determined to explain hersele. ALEX The fact is, t'd been going through a bad time, I was coming to some sort of crisis. 1 fee: much betker now, thanks to you. (89, thank you.) DAK You don't have to thank me. ALEX Oh yes, I do. Most guys would have just caken off. (run avay.} T don't kiow what might nave happened... (what 1 vould have done) if you hadn*t been there. DAN Yeu're locking good. As a matte: of fact, you Look great. We looks at her with a smile. and indeed, i He's beginning to warn tc her, now he realiz sane again. gig true. es she's 4CONTINUES!a7. BL CONTINUED: (2) ALEX tguietiy) Thanks. There is a moment’s silence. Dan isn’t quite sure what's coming next or where Che conversation is lead= ing. ALEX {continuing} So... all that's in the past. 1 vag vondering.., Wowld you do me [I'd like to ask) one more favor. DAN What's that? He shifts awkwardly in his chair. ALEX Tive agt tickets for Madame Butterfly too veeks from Thursday. Pri be very grateful if you'd let me take you. A peace offering. 7 DAN It's very kind oF you, bur 7 really don't think this is a qood idea... ALEX temiling? Ne strings attached. DAN tgantly) Alex, under differance circum -- AIDE You don’t have to explain, I just thought I'd ask. {she gets up) T'2l see you sometime. They go to shake hands. Ban suddenly finds the formal ity eather zidicalous. DAN Mey! Ae kisses her. DAN [So lang.) Take care. SCONTINIED;a1 $2 93 ge 98 58. CONTINUED: (3) ALEX Goodbye. Be escorts her to he door, and closes it after her. He shakes his head and lets aut a deep breath, Iwt, OPERA HOUSE - NIGHT On stage, the beginning of Act 2? of Madame Butterfly is in progress, BUTTERFLY sings of her love for Pinkerton and dreams of his return “one fine day"... The CAMERA GLIDES over the heads of the audience until it discovers Alex, She sits alone, next to an empty Seat, elegantly dressed for a night ar the opera. We MOVE CLOSER, until her face FilLS TRE SCREEN. She listens to the MUSIC wich a fixed expression, impas- sive, devoid of emotion. [t's a strangely unsettling image. INT. BOWLING ALLEY - NIGET Dan and Beth are seated at the se: and JIMMY. ng table with BTLDY They take turas getting up to bowl in the alley before them, The ladies reaily don't know haw to bowl, the man profess to be experts. There is beer and shouting, lets ef laughter and lots of warnth. The MUSIC from the previous scene ("MADAME BUTTERSLT") tentinues over the SOUNDTRACK, INT. OPERA HOUSE + CLOSE SHOT - ALEX - NIGHT The image of Alex havers over them like some malevolent bird ef prey, Who knows hat dark thoughts are palpi- tating behind those impenetrable eves. ON STAGE The opera is cot its clinax. gutrerfly collapses to the ground, mortaily wounded by Ker oun hand. As she Cinally expires, we hear ?INKERTON'S desve CRIES offstage.58. 96 INT. LAW FIRM CORRIDOR - DAY We TRACK BACK from Arthur end Dan, past Office afte office. Arthur aArenur ARTHUR -.. about Rogers versus whatehmacallie -- DAS (overlapping) Wintesky... ARTHUR Right, I got your memo, genna go for sumtary jud BAN Why not? The facts aren't in dispute. Rogers admits he read Winktsky's article. The only question is, did he plaglarize it in his book? As you well know, {As we both knew], you can'c copyright an idea, just the sion of an idea. Rogers BERbinipdicn't use any of the in’ the book! ARTHUR Lemme think about it, okay? $a, I heac you're about to become a suburbarite. DAN Yeah, we took the pkunge... ARTRUR Got s buyer for the apartment... DAY Wor yer... ARTHUR Got cold sweats about yous escraw? DAN Maybe a little... stops. ARTHUR But net about Rogecs and Winicsky? DAN No, sar. ayes him 5! app: ing.97 38 99 60. THT. LAW PIRM - MARTEA'S OFFICE ~ pay Martha is talking om the phone. MARTHA He's still in a meeting... Yes, 7 know, I did expect hin to be through by now... INT. LAW PIRM * CORRIDOR - DAY Dan and Arthur are walking towards Dan's office. ARTEUR (nets decided} I'd Like you to nave lunch vith me on Tuesday, if you're around. DAN Oh that'd be graat, Arthur. (Thank you, Arthur, it'll be ay pleasure.) Let me just check my diary. INT. LAW FIRM - MARTHA'S OFFICE = DAY They artive outside the deor, Martha is sti2l talkiz She's having a hard time getting off the phone. MBRTHA You are on his list of calis She looks up as Oan enters. He looks at her quiz- zically. She covers the receives. MARTHA It's Alex Forest. DAN 4Erqwns) Again? I thought you tald per I'd call back? He can't help giancing back to where Arthur is still hovering in the dogrway, BARTER 1 dia. DAN Let mg see the diary. ut her on held. she hands it to vant page. iedly looksa9 iso 201 102 Sl. SONTINUED? MARTHA Would you mind holding? #e'il be free in a moment. DAN (te arthur) (arehur,) Tuesday'é be great (Archur), thank you. ARTHUA Good. I look forward ta it. He leaves, Once satisfied he's gong, Dan turns to Martha. DAN Put her through. INT. LAW FIRM - DAS'S OFFICE - DAY Dan picks up the phone, DAN Hello? Look, Alex, I thought we'd agreed this wasn't 4 goed idea. LEX (0.8, ) T have to see vou. DAN Why? What for? ALEX (0.5.1) There's something we have to discuss. DAR I'm sorry. I thought you understood, [£ T've somehow given you the wrong idea, T apologize. But 1 think i='s best if we don't talk ta each other: anymore. or Dan hangs up then pushes tre bu te Martha's office. DAN If she calls acain, tell ber I'm gure103 104 aos INT. GALLAGHER APARTHENT - BEDROOM - RTGET - Beth is sitting in front of the mirror, fixing her makeup, getting ready for the evening. She's locking great in bra and panties, Dan comes up behind and puts Ris arms around her, kissing the nape Of her neck. DAN Hamm... You smeli good. He strokes her breasts. BETH (gently) Dan... They're gonna be here in a nimate. Fe kisses her on the lips. She responds, enjoying the moment. DAN Just let me look at you, you're beautify = God, Beth is surprised and touched by his romanticism, but she respects his intensity. Dan sits behind her and starts to stroke ner legs, he: breasts. He looks inte her eyes. They are about to kiss again. The OOORBELL RIncs. aETH (smiles) Wouldn't va know? ‘OMITTED INT. GALLAGHER APARTMENT - LIVING ROOM - EVENING Jimmy pries the cork off ene of the bottles with a LOUD POP. He rushes ta fill the glasses. They are all Seated around the sofa. General AD LIZBING of cheers and excited chatter as frothing champagne spills cover the table. Jimmy raises his glass in aoc: sclemnity. JTMAY (AD LIBS te insurance, cold sores. etc.) Ladies and gentlemen, my wife (my ball and chaini, (mather of sone of my children... (CONTINUED;105 CONTINDED: a. (HILOY You should have such a ball and chaint} TIM A toast! Here's co Miller, Goodman, Burst... and Gallagher! ! DAN Guys, all ne did was ask me to lunch. BILOY -.- and they'cé moving to their country estate; they'll forget they ever knew us plebs TAN (too straight) Now vait a minute. [ want you te knew I"ve been reading one of those self-help books lately... FIMMY Published by Robbins and Hart, of eourse.,- CAN QE course. “Samurai Self-help." And it tells how ta deal with the angieties cf friends as you move up the cerporate ladder and they stay pet. or, God forbid, move down... oTMex (Beniro in “Taxi Driver) You talking tc me? To me!? Well, there's no one ease heres. get dewira for ten years... hetic ta sad thinghe ss DAN woving right aleng. And in this book at tells you sok te coddle the anxieties 2f these friends. $o I'm not gonna aake a tor of false reassurances. 1 can't say you'll be up avery veekend. Let's face it, things have changed. MORE} (CONTINUED j105 LOA uosa ga. CONTINUED: {2} DAN (CONT'D) This isn't a classless society. As a oatter of fact, this is geedbye, guysl... JIM Tknew it. Well, at least you're runaing teue to form BETH Ban... - DAR Well, honey, it's best to make a Clean break. We're on our way, we wanna travel Light... The PHONE RINGS. Beth answers. The others go on chat~ ting CLOSE ON BETH She pleks up the phone. BETE Rello...7 Hello...? Dan looks Over towards hec, alerted by a sixth sense. Beth replaces the receiver with a frown, and returns to the table. . BETE teantinuing} Nobody there. That's the second etme tonignt, I hate that, It gives me the creeps. RILDY I'm always afraid it's someone trying to case the joint. Itunt Oh, no, don't worry -~ it's probably cne cf Dan's girl friends. Laugnter. CLOSE ON DAN A sudden reaction, as he's caught off guard by cimny’s ibe. Of course, it's exactiy chat he's thinking. He Quickly taughs it off. LOaNTINUED)1058 106 107 1078 CONTINIED: DAN Yeah, but which one? But as the CAMERA LINGERS on his face, we sense his anxiety. INT. GALLAGHER APARTMENT = BEDROOM « NIGET The CAMERA SLOWLY TRACKS towards the bed, where Dan and Beth are asleep, CONTINUING PAST TO END ON A CLOSE SHOT of the TELEPHONE next to Dan's head. It CLANGS into life. - Dan's eyes open wide as he is jolted awake. Almost on instinct, he reaches fox the phone before ik can ring again. Beth stirs drowsily in her sleep. Dan eah?... ALEX'S APARTMENT BEDROOM ~ BIG CLOSEUP = NIGHT” Alex's face is set hard. ALEX At lage. BACK TG DAN Ke shoots an angiqus glance in Beth's direction, She is slowly waking up, intrigued by @ call at this lace hour. DAN Oh, Richard. It's kinda late, isn't it? ALEX (G.5.) If you keep refusing my calls at the office, you leave me na choice. Dan Yuh, it's two in che morning nece. Gan't this wait till comorray morning? ALEX Oh... Is it auxeacd for you to talk? DAN You could say tnac.86. AQ7A CONTINUED: ALEX I've got te see you. DAN I..- uh... don't have the... the documentacion here to answer khat question. I'l call you from the office. ALEX No, meat me in front of the Robbing and Hart building at six. DAN Well, lee me just think (about that) ALEX Don't disappoint me. DAN You can rely on that. ALEX Be there. DAN Goodbye. He replaces the phone. By now Beth is vide avake and loeking ac him with epen curiosicy. BETE Who in the hall was that? Dan A client, Jesus. chese guys think they own yau! BETH In the middle of the night? DAN It's only eleven in La. BETH (disgruntled) Even so..+ She turns aver, trying te Find a comfactable pesitisn, finally settling down. Dan remains on Ris Sack, star— ing up at the ceiling. This ie Beginning tp get to nim.67. 208 0 EXT. SIXTH AVEWOE - EVENING ban apd Alex are walking along Sixth avenue. He ia striding angrily along beside ner. His loud voice attracts the attention of passersby. DAN This has get fe step. ALEX (calmly) Dan, if you'd agreed to see me, T wouldn't have nad ro call you. ban” Te hasn't registered, has it? Je's over. There's nothing between us. ALEX (chilling) You mean you've had your fun, now you just Want a quiet life. fe pulls her roughly into a doorway. DAN Why ate you doing this? ALEX (scornfully} Doing what? DaN (exploding) You need help!! He moves away. She hurries to © reh up with nim, OAN (continuing) You need a shrink!! (a fucking doctor! } 109 INT. SUBWAY STR’ IN & CORRISORS - DAY Dan and Alex are watking along the endless corridors. Be Looks qcim. ALES Why are you go postite? rt really isn't necessary, you know, i'm Rot your enemy. pas Then ony are you me? ving ta nu68. 199 CONTINUED: ALEX - (pained) 1 don't want to hurt you, Dan. Jove you. DAN You wnat? ALEX tquietly? I love you. DAN 7. You don't ever know me, ALEX (intensety) Row can you say that? DAN (batfied) We spent tha weekend together. That's as far as it goes. ALEX You stayed that second night. You - must have liked mea little? DAN Twas worried about you. why do you have to read se much into everything? She suddenly looks very vulnerable, He realizes she really does believe he must feel something for ner. DAH (gently) Can't you understand? ‘ve got a whole life going with someone else. A very happy one. ALEX (bitterly) Woole means complete TE your life's so dann complete, what were you doing vith na? DAK Te this [why vou nad to see me?) what you vant to talk abagt?) Qur imaginary love affair? ALEX i'm pregnant. lContINtes)log CONTINUED: (2) Bis jew drops. She stares at him coolly. ALEX (eontinuing! Naw tell me you don't believe oe. DAN I don't believe you. LEX (sighs: reaches into her pursed I saw ay gynecologist on Monday. | Here's his number (if you want to cali him}. You can call if you want to. She hands him a card. He takes it, stunned. Da Don't you -- ALEX Use anything? No, I don't, I had a very bad miscarriage last year. I didn't think I could get Pregnant. ALl Dan can do is stare at the card. . DAN (You're gure it's mine?) Bow do you know ix's mine? ALEX (controlling herself) Because I don't sleep around. DAN Okay, I'm Otry... } apologize. Don't worry. I'm not going to lee you Randle his on your oun. ALEX Randle what? DAR Well -- the abortion. You don't have te worry about the money. Til take care of ir. ALEX what makes you think I"m going to have an abertion? (CONTINUED)109 Dan shakes his head in despair 70. oO DAN {stunned} No... Nol! You're not gonna bave the baby (kid)1? ALEX Why not? ‘There are plenty of sucessful one-parent families. At least they doa’t end in divorce. DAN Do I have any say in (all) this? : ALEX (Eiemty) I want the child. Tt has nothing to do vith you. I'm going to have it, whether you want to be a part of dt or noe. DAN Then why the hell are you telling me?? 0 Why not just do it? ALEX tsubdued) I Was hoping you. would want to be a part of it. DAN This ig crazy (ingane}... This is juse crazy! ALEX I'm thirty-six years ol4.,, This may be my last chance to have a child. DAR Alex, for God's sake, think what you're saying: (you're gonna} Aig will affect born of our lives fotever! ALEX (earnestly! Do you thinx 2 don't know that (T've thought about i: a +] T understand haw you Ie's a big thing, but it doesa't have to be a problem, really it doesn't... Play fair with me and f'1l piay fair with you. (CONTINUED)109 ula ni2 CONTINUED? (4) She rests a reassuring hand over his. But Dan feels far from reasgared, He can see a nightmare future opening up in front of him. IND. GALLAGHER APARTMENT - LIVING ROGM - EVENING Beth sita at the dining table with Ellen, reading to her from an “Oink and Pearl" book. BETA “Agnes and Nellie and Oink giggled and laughed in the dark. Pearl . Listened outside the deor.* - DAN working at His desk, oz at lease trying to. Re cannce Gancentrate. ge starts to listen to Beth's story. faint but distinct. BETH (0.5.3 "gggese, it works,” erled Nellie. “of course,“ said Cink. “Look at the Elying dog." yelled Agnes. ‘ow! cried Nellis, TNT. GALLAGHER APARTMENT - LIVING ROOM - EVENING Beth continues the reading. Ellen is enthralled. BETR Peatl frowned. “Who cares about Flying dogs." she said. Nobody heard bec. Sensing a presence Beth looks up. Beth smiles and goes back to her reading. She sens nothing amiss. CLOSE ON DAN He has a look of poignant tenderness. Never nas his family appeared more precious. He cannot take bis eyes away from them. BETH (9-8-1 ‘Look cut for the worm!” squea Agnes. “Eeaeeeak:" yelled ne: and Agnes togethetee 212 EXT, ALEX'S APARTMENT BOILOING - HORNING Alex exits ner building and leaves for vork. CAMERA FANS. after her, coming to rest on Dan, watching fron across the street. Satisfied that she’s out of the way, he races ts the frent door. Loaking anxiously around. Dan impulsively presses all the busters. Be is hyperventilating. After a moment, people start ANSWERING on the INTERCOM. At least one Person buzzes, He's in, Instead of taking the elevator, he races up the stairs. Dan arrives on Alex's floor, looks around and hastily feels foc the Hide-avkey, He lets himself into Alex's flat. 1330 INP. ALEX'S LOFT ~ DAY ban hurries through the apartment, looking around. fe doesn*t even know yhgt he’s looking For, anything te give nid a handle suvthis person he's dealing sich, anything to give him some ieverage. In the bathroom, he looks at al] her many pills. Some- thing catches his eye in the medicine chest. CLOSEUP: 4 home pregnancy test. She was telling the truth, At Alex's desk, Dan picks up some papers and looks theouga then... Be sping her Rolodex, locking for addresses... A scrap- book catches his aye. He pulls it dow, thumbs through it -- ANGLES of alex's Family in Cuicago. Suddenly he steps: CAKERA Z00MS IN: A nevepaper obituary of Alex's father. He died of a heart attacx wnen Alex was seven! Ban can't do anything but gape. Who the hell, what che Rell is she? INT. LAW OFFICE = LIBRARY = DAY @ clerk is distributing and coliecting nooks among the Stacks. We discover an and Jimmy in’a corner. (CONTINUED:11s CONTINGED: tae DAN So you know shat happened... ¢then you know what I did?7} Rights I tall her doctor, and you know what he says? “Cangratulations!" Can't you imagine what she must have said to him? TIME Oh, Jesus! teak, what do you think would happen if you just came out and told Beth? DAN Are you kidding? that'd be the end, This woman is having my child (goddamn baby!)... Beth could never accept that. Nobody gould. (rans his hands through his hair) Anyway, you haven't heard it all yet. (That's not the end...) (When I got off the phone with her @eetar}, I breke into her place this morning. I know... me, a iawyec, breaking and entering. I was looking for something, anything ta give me a handle on what ehe hell I'm dealing witn here. I thought maybe I could find out if she was sleeping with anyone else... Re hears a noise, stops. DAN (contiauing) I tame up With nothing, Jimmy, I've never toucned family law? wnat kind of case does she nave? ory In New York State, the lay vill take a woman's vord fer paternity until the child is born and paternity can be tested. Until the baby comes to tera, the putative Eathe: (you, pal, you the father) is responsible for a2] magical and maintenance ests. In ether sords, the law supposes you guilty until prover. innocent. (eONPLNUED) aa em =e Ke124 © CONTINUED: pan looks iety. fle turns ai He walks oF (2 DAN Thanks, buddy {Jicumy). You sound like a Lawyer! JIMMY Sorry. Hey, come on... iook, once she realigas you don't want anything to da with her, she‘il decide fot to go through with at. She's probably hoping you'll leave your wife. DAN That's crazy! SIMMY She sounds a littie crazy. at hin, his face haggard with pain and anz— DAN She keeps calling the apartment. Every time Beth answers, she hangs up... I'm scared, Jimmy. 1 really an. (desperately? . 1 don't want to lose my family. way, afraid of showing his emotions. . JIMMY Listed, Dan, can 1 ask you something? I'd ceally like to understand. I know you. You doen't fuck around. [How come?) wmy'd you do it? DAN That's funny, She keeps asking me that. If t'm so Bappy, how come I went nome with her? wer tz the window and ioaks out. DAN ieentinuing) ALL I can think of is a sombination losk == you knew, 211 the tumblers nave to fall ince place. If ¢ hadn't been macried ten years ~> click. If 1 hadn't gone to that weekend meeting + elick. IMORE y (CONTINUES)aie 115 75. CONTINUED: (3) DAN [CONT'D] If Beth and Ellen hadn't been in the country (gone away} —- Glick. If she hadn't been at the Beeting => click. If it hadn't been zaining so hard, if she nadn'e been so attractive (pretty) +o glick, click, click -- You don't know...) 2 think everyone's got some combination that'll open them up... that can uniock them, Long silence. INT. ALEX'S APARTMENT - BEDRGOM - NIGET Alex is propped up in bed, wearing her klaono, eating an apple. She looks like she's been in bed alt day, The TV I5 ON, but she pays it no attention, She leafs through a manuscript distractedly. Eventually she Ricks up the phone and dials, punching out the numbers vith s stabbing Einger, An AUTO-VOICE cones on the fe. VOICE (¥.0.1 I'm sorry, The fumber you have dialed has been disconnected and there is ne new number, ATONE is heard. Alex staces at the phone in disbe- lief, then dials 411. OPERATOR (V¥.0,) Information, what ciry, please? ALEX I'm trying fo eeach S$55-B125. 212, A cecording gays it's been disconnected. OPERATOR (¥.0.) Just a Minute... that's correct, the party has changed to an unlisted number. ALEX Operacce, this is a ceal @ergency. Please... you must give me that sumer! OPERATOR (V.0.1 I'm sorry, we're not alloved to do that. (CONTINUED)1s 116 a7 118 1g 76. CONTINUED: ALEX texploding} weil, fuck you! Purious, Alex slams down the phone. ‘OMITTED EXT. GALLAGEER APARTMENT BUILDING - DAY ban is walking along his street, deep in theught. 58 starts to cross the street, and is stopped in the mi die by a CAR HOWRING furiously. He finally crosses and @ntérs his building, helping a little old lady in. INT. GALLAGHER APARTMENT HALL = EVENING Ban comes through into the apartment. He can hear women's VOICES coming from tha gain room. One is imme- diately recognizable ax belonging to Beth. The other zounds uncomfortably Familiar. The conversation ig en the subject of babies, as far as can be made out. Dan moves towards the room with increasing trepidation. INT, MAIN ROOM - EVENING The CAMERA FOLLOWS into the coon. Th gether on the sofa, are Beth and Alex » sitting com Beth rises with a smite. BETE Hi, darling. This Alex -- I'm Sorry, I've forgatcen your last name... ALEX Alex Fortest, Hi. BETH Alex Forrest... My husband, dan. He doves forward, as if in a bad dream, almose in slow mation. ALEX Glad co meet you. DAN Nice to meet you. {CONTINUED} wae ee mm wwee 119° CONTINUED: She gives him Her hand. He has no alternative but to shake it. She holds onto him a fraction longer than sa necessaty, atudying him vith exaggerated curiosity. ALEX Haven't we met befor. 4s avfully familiar. Your face ban I don't think sa. ALEX No, AO, ve have. Weren't you at a party at that Japanese place a few waeks ago? A book launch. BETH Oh, darling... The exercise book! DAN Ch, yes. ALEX You're a lawyer, right? You work for that firm... what's BETH tne name now...? Anyway, we Miller, Goodman § Burst. definitely met, DaN You have an excellent memory. ALEX ft onever forget a face. BETS It's a snail vorld. ALEX Tt certainly is. She looks at Dan significantly. ‘There is a pause. A Slight aukvardness,” Alex breaks the silence, tucding ro Gan, ALEX (continuing) 8... T gather you're maving to the country? BETH Yes. ALEX Have you found someuhere? He doesa'r answ (CONTINUED)7B. 419 CONTINUED: [2] BETH + We're buying a house near Bedéora, Have you ever been out there? ALE Yes, it's beatiful, 0 you'd be feady to move out of here almost immediately? Beth looks to ban for guidance, He is impassive, his face a Frozen mask. BETE We were planning to get some remodeling done first. I guass you're looking for a place (te move into) right away? ALEX Well, I would realty. I want te settle in. BETS - (ko Dan} Alex is expecting a baby. . DAN stiffly} Gh... Would you excuse me? I have some calls to make. We turng to his desk. Alex checks her vateh. ALEX Goodness, E've gotta run. She Moves to get her coaz and starts across. She turns te Beth with a sweat smile. ALEX Thank you for the tea, thank you far showing me che apartment, BETH You're welcome, ALEX Tlike it. ft like ie a dot, BETH We've been very happy here. ALEX I'd definitely Like to ehink about it, d€ T could. (CORT INES) —- ee — a.als 120 a2 COntINDED: (3) BETa Let me give you our number {direct}, so you can call us (direct) if you want to. Dan logka on in dismay as Beth scribbles down the num- ber and hands it to Alex, ALEX Thank you. INT. GALLAGHER APARTMENT BALL - EVENING Beth opens the door to let Alex out, For a moment, Alex looka at Dan standing in the doorvay. ALEK (eontinuing) T'12 be in touch. She gives him 2 tight little smile, Beth closes the door. - INT. LIVING ROOM - DAY Dan is standing at the window, staring out at the city. Berth comes in to clear the coffee table. . BETH She gens really interasted.., It's funny, she didn't mention a husband. “I got the feeling she’s on her own (alone). She moves towards Dan. He suddenly looks tired and haggard, BETE (gently) What's up? You seem depressed. DAN (smiles weakly) I'm fine. Just ticed. Everyching's fine. She kisses the side of his head. INT. LAW FIRM - DAN'S OFFICE - DAY We're close on his speaker phone, answering.121 122 123 aza CONTINITED: OPERATOR . Robbing and Wart... DAN Alex Forrest..+ ASSISTANT Miss Forrest's offic DAW Yes, could T speak with Hiss Forrest? Dan Gallagher. INT. ROBBINS-AND BART - ALEX'S OFFICE - Da¥ Alex's ASSISTANT has answered the phone. He mouths Dan's name to Alex, uho is Standing nearby. Sne sig- nals that she's not in. ASSISTANT (personal call ap LIB) she's in a meeting, Mr, Gallagher. tan I have nec return your cail? INT. LAW FIRM - DAN'S OFFICE - DAY He thinks for a menent, thyarted. DAN Ne... I'LL call her back. ig slams tne prone angrily. INT. /EXT, PHONE BOOTH ON MANHATTAN STREET - DAY Dan is crossing the street to get to the phane beetn in the neighborhood of his office. DAN Hi, sweetheart, I gotta have a deink sith a clienc... (I‘m gonna bea little late.) I'm sorry. (1 wor't be vecy lace...) ALL right Give my Love to Ellen. He presses down the ceceiver, guts in anathe: coin and diale again. He waits impatiently For the call co be answered, tapping a coin against the side of the pay phone. His necves are an edge. ene wee ee ~5 126 327 12a 128 wee : ae INT. ALEX'S APARTMENT - MAIN ROOM - DAY the FEONE RINGS 9 couple of times and then an answering machine cuts in, We heac Alex’s announcment. ALEX [V.0.] Hie I'm ngt in right now, but if you care Co leave s message I'11 fall you right back. ‘BACK TO DAN le hesitates, then puts down the phone and watks avay, INT. ALEX'S APARTMENT - MAIN ROOM - DAY As the ANSWERING MACHINE CLICKS OFF, we FAN across to the sofa. Alex is sitting there, smiling to nersetl. EXT. ALEX'S APARTMENT BUILDING - NIGET The Street outside Alex's apartment. Dan ENTERS FRAME in f.9. and looks up at the building. He crosses the street and gees up te the entrance. EXT. PRONT ENTRANCE - NIGHT Dan presses the bell. And vaits. He presses agalo. Ac last Alex's vatee comes over the anecy phone, ALEX (0.8.) Hello? DAN It's me. ALEX (0.5.3 whe? DAN You know who it is!! (Ler me in.} Twant to talk to you. ALEX (0.5.3 Oh, new you want to talk! DAN Yeah, [ wanna talki! She preages the buzzer. He goes in: a ee Roe se130 an 132 > Ane eee INT. ALEX'S APARTMENT BUILDING - CORRIOOR - NIGHT ban stands cutside Alex's door. Tha door opens to reves] Alex. Sha looks gtunning, at her most seduc- tive. She has transformed herself from the earlier seene -- she knew he'd come. She stands aside with an ironic little smile to let him enter. He goes in. The door closes. INT. ALEX'S APARTMENT HALLWAY - NIGHT Tight-tipped, Dan follows her into the #ain room, INT. ALEX'S APARTMENT - MAIN ROOM = NIGRT Alex goes toward the kitchen area. ALEX what gan I get you? I've got scotch, T've got vadka -- there's a2 nice Chablis in the refrigeratar Dan remains standing. His anger is bubbling over. DAN Can we (please) cut the bullshit?? Can we just cut the bullshit now?! ir don't know what you're up te, but f'm telling you, it's gonna stop. Right here. right now! ALEX (ealaly) Ne. It's not going to stop. It's going to go on and of -- until you face your respoasibilities, aN Woat responsibilities? wnat are you talking about? ALEX I'm pregnant. Im having cur child. DAN Alex, that's your choice, not mine. ALEX IT just wanna be a (small) part of your life. (CONT IBUED)432 Bae CONTINUED: DAN - And you think this is che tignt way to go about 1t...? Showing up at my apartwent? She moves back towards him. ALEX What am I supposed to do? you won't talk €6 mé, you change your number, I von't be ignored. : DAN . (eoldty} You just don't get it, do you? They are face to face nov. She locks into his eyes, her lips moistly parted -- his for the taking. ALEX (nugkily) Bon't you remember our weekend? Wasn't that wonderful? why can't ve be like thac again? She presses herself against him. cefling her arm around his neck. ALEX igentinuing} I know you feel if too, You want me, T knew you dares She moves her mouth towards his. he pushes her away. DAN bon't flatcer yoursel£. ALEX Poor darling!... You can't help having dircy theughts, can you?? We fixes her wich a murderous stare. ALEX (continuing: felentlessly} Poor little Bets. [ thought she was awfully sweet... but shz was alse kind of beriag! Is she boring in bed tec...? That's the Problem, isn’t iti! (Con? nveD)13a aa. CONTINUE! UR) Be grabs her by the wrist, tvisting her arm upwards. Yor d second there ig rage in his eyes and fear in hers. DAN I'm warning you, our of igit ) You leave her She grins maliciously. ALEX Go ahead, hit me! If you can't tuck me cny dons you R&t me? Be releases his grip. DAN You're so sad, you know that... You're sad and lonely... ALEX Don't pity me. Zver! tou smug bastard. DAN Ido pity you. You're a very sick gird. ALEX Why? Because T won't let you treat me like some slut you can bang a couple of times then dump (in the trash can?) I'm gonna be the mother of your child!! T want some respect! DAN You cane respect?... He turns and walks towards the door, ge's had enough. ALEX (suddenly panicking) wnat are you doing? She goes aftec him. INT. ALEX'S APARTMENT HALIWAYT - NIGET She catches up with him in the ball, grabbing nis aleeve. ALEX I'm sorry, Oar, [ didn't mean it. Please den": go. (CONT INT:133 ie Las as. CORTINGED* He pushes her away and carries on towards the exit, Alex tires to interpose herself between him and the door. ALEX (continuing) T'dL tell your wife. Something inside Dan snaps. Ee grabs her by the throat and forces her up against the wail. . DAN (hoarsely) you do that and "11 kill you! I swear to God! : He releases his grip. Alex falls back, clutching ner throat and gasping foc breath. He goes out the door, slams it behind him. ALEX pulls herself together. shouts impotently after him. ALEX Al it takes is a phone cali, Dan. I'm warning you, I won't just disappear! She turns and races back toward the living room. ALEX comes back inte the main room, breathing heavily. she lunges for the phone and dials. BETH (0.5.1 Ballo...? Hello. tho is this..,? Hello? At the hase moment, Alex's nerve fails ner. Maybe she realizes it vould mean tne end of her hold over Dan. Maybe she's genuinely frightened of what he might do. At any cate, she suddenly slams down the phone. flings it violeatly against the wall and breaks down into uncontrollable, bysterical grief. FADE TQ BLACK. OaTTrES137 ENT. COUNTRY HOUSE ~ RALLWAY - DAY Dan is directing two Movers as they start up the stairs with & mattress, while he is helping another man with a table. , DAR (That's) Second door on the left, upstairs. The two movers struggle up with the mattress. 138 INT. COUNTRY HOUSE - LIVING ROOM ~ DAY Betn and her mother, Joan, ace already unpacking crates, trying to get the place into some kind of order, BETH Tonever knew we had so much junk. JOAN To stili think you were crazy te move in before the remodeling was done. You could've stayed in the apartment. BETH (shrugs) Dan couldn't wait to get qut of New York, Mom... is this you? That's sweet! At that moment, the PHONE RINGS. seth glances over te the far end of the room, vhere it rests on the hall stairs. . 439 INT. COUNTRY BGUSE + HALLWAY + DAY Dan is helping one of the movers with a Large table, which is stuck in the door. Se looks up anxiously. His immediate instinct is to anawec it himself, bux he is squeezed up against the door frame, HNevercheless, fe teleases his grip on the table, which drops to the ground, with the man s: 1 nalding up nis end. Dan hurries to squeeze thru the doorway. He larenes towards the phone, 140 INT. COUNTRY HOUSE - MAIN ROOM = DAY Meanvbile geth is on her wey to pick up the phone. fan etosses pas: the doorway ca.ling as he goes: LOONTIN(140 lat 14a ur. CONTINUED: DAN I'll get itt I've got it, honey. Surprised by his eagerness, Beth stops in her tracks, tuT. COUNTRY HOUSE = HALLWAY = DAY Dan ceaches the phone and grabs che receiver. DAN Hells? MARTHA {V.0.) Bi, Dan, it's me. Fe gring hugely. DAN Martha! Martha, it's yout! Yes we. What is it? Ir's Martha... MARTBA (¥.0,] Kothing important, only your salla... Be lecks up at the mover, still stuck in the docr. He nods, underatandingly, DAN Yes... yesics Relief is written alt over nis smiling. face. OMITTED INT. COUNTRY HOUSE - UPPER HALLWAY + AFTERNOON A week o¢ so has elapsed since the nove, Beth is up a dder, paincing the ceiling with a roller brush. She wears a Scarf ‘round her head cc protect her from the paiac, but is covered with spets all the same. The PHONE RINGS. fe goes to answe:. BETH Hello? OMITTED : a ee -—_ e am mm148 INT. LAW FIRM - DAN'S OFFICE - DAY Dan, too, appears very relaxed. ‘The pressure finally seems to be off, Daw Hi, babe, How's it going? Did the plumber ever come? 445A INTERCUT WITH BETH, ETC, 145B DIFFERERT showing a BETR Did he ever. DAN I knew, Don't tell me, I don't vant to hear. (suddenty brightened) Hey, guess what I'm loaking at? ANGLE OW DAN eaged cabbit on top of his dask. BETH (vecy excited) You got it? DAN 1 piewed it up... wait a minute... I picked her up at the store today. BETE What's she like? DAN She's a rabbit... white, long floppy ears, pink eyex No, she's beautiful! He pets the rabbit. Bi Sound cute (nicel... DAN Are you sure Eller deesn’t know anything abouc it?? BETH Rot She's gure she isn’t going get one. Dan corriaues AD LIBS re caboic == earmuffs, etc. -e one146 a7 148 349 as. INT. LAW FIRM - RECEPTION - EVENING . Dan passes through at the end of the day, carrying the cages RECEPTIONIST I like your Erjend. DAN Gave you met our new partner, Eunice? (See what happens to you if you atay here too long?!) Be shows her the cabbit. she chirps delighte: RECEPTIONIST Aren't we sweet!? Gh, I Forgot. This arrived for you. She hands him a smail padded envelope. He slips it inte his pocket. - EXT./INT. FARRING GARAGE - EVENING (DAY) dan walks up to the garage and the control booth. No sign of the attendant. A small pockable TY plays ro an empty chair. He leans across and takes his keys from the rack. He starts to walx to the elevater. DAN Bay, Joachini Be pushes the button, and puts the cage down as the levator goes up, and delivers him to his floor. INT. GARAGE We TRACK BACK in froat cf him as he saunters along, humming a tune. He comes around the bend and heads for his car. ANOTEER ANGLE Alex is vatching Dan at a distance, from the balcony of the alevator shaft. After a moment, she walks off. Dan is walking along. We is momentarily startled by @ CAR ALARM GOING OFF_ He suddenly slavs down, a laok of horror on his fage- DAN Jesus!152 ASE 154 255 156 187 aIs POV Ahead of him, something terrible has happened te his BHH.- A poisonous, BISSING VAPOR rises in a yellowy eloud from its stricken body. DAN'S CAR - ANOTHER ANGLE He approaches, hardly able to believe his eyes. The paint is blistering and peeling off the metal, the metal itself dissaiving and dribbling over the windows in a hideous, molten mess. Hydrochloric acid nas been poured over the entire car, giving off a sinister, RISSING STEAM as it performs its . lethal work. This is the work of a sick mind, no less disturbing For being directed against an inanimate object. . INT. GARAGE - EVENING The CAMERA TRACKS towards a dark corner, at somé dis- tance. Alex ig hiding there. sne steps forvard, watching, @ malignant smile on her lips. OAN AND THE CAR He stands there with the rabbit. The car is a write= off. He knows who did this. He screams with rage. INT. HERTZ OFFICE - EVENING Dan is on the phone to Beth in a nearhy avis office. DAN Ko, it had something to do with the electrical system... BETH (0.S.) Whan?? DAN Yeab, the whole thing went up in smoke... Okay, ‘bye. EXD. AVIS OFFICE - CAR POUND ~ EVENING Dan emerges from tne poynd in a ranted car. REVERSE ANGLE - ALEX'S HONDA Alex is parked nearby. Sre searts the engine and moves sft.158 INT. RENTED CAR - TRAVELING - EVENING ‘The car stops far a light. Dan leoks onto the seat next to him and sees the package. With a sudden intui- - tien, he teara it open. ‘there's a cassette with the 2 words "PLAY ME" on it. He stares. Someone HONKS be- hind. The light has changed. He puts the cagsecte into the deck. Moving Eorward, he hears the hated vaice: ALEX (¥.0.) Hello, Dan. Surprised? This is what you've reduced me to... I guess you thoughe you'd get avay with itz 159 INT. ALEX'S HONDA ~ TRAVELING - EVENING Alex follows a few cars benind. Her face is set hard. ALEX (V.0.} Wall, you were wrong. 160 0 INT. DaN'S RENTED CAR - TRAVELING Dan is listening intently. 161 Dan's car takes a right turn ahead, just az the light - turns to red. Alex puts on a spurt to keep up with him, almost cunning ovec a startled pedestrian, INT. RENTED CAR - TRAVELING ~ EVENING Dan listens, deep in gloomy thought. He is on the freeway going out of the city. Her voice is chilled rage. EXT. DAN'S & ALEX'S CARS - POV SHOTS traveling through the city. ALEX [V-0.1 Bart of you is growing inside ne. That's a fact, Gan -- and you'd better staz=t learning how to deal witn it. (then, a shire of mood, lenging} On. pan, I feel you, I taste you, think you, 2 touch you...! Can you understaad? Cad you? em eee ee : mae oe162 163 1634 164 165 42 EXT. COUNTRY ROAD - NIGHT Dan's car rooms up and past along a tree-iined country road: A few moments later the Honda follows. She's businesstike now. ALEX (V.0.} I'm asking you to acknowledge your responsibilities. Ia that 99 unreasonable...? I don't think 50. EXT. COUNTRY HOUSE - NIGHT Dan‘s car pulls up beside the house. ALEX (¥.0.) And another thing... ENT. DAN'S RENTED CAR - NIGHT Dan sits, Listening for a moment. Then, he reaches over and stops the tape, pulling the eassette out and putting it into his jacket pocket. Be reaches for the rabbit cage and gets out of the car. Alex's car stops momentarily on the road, at the top of the drivevay. As Dan walks tovard’his house, Alax's cac starts again and craises slowly past the eriveway entrance. A shadowy figure -- Alex -- runs across the vast lawn tovard the house. OMITTED EXT. COUNTRY HOUSE - GROUND FLOOR WINDOW - NIGHT The CAMERA is looking througn the graund floar window into the living room. en and Beth are kneeling on the floor ia front of a log fire making a giant jig-saw pozzle, Ellen is in hes pajamas, ceady for bed. Dan enters with the rabbit. Ellen can't believe it. she ig absolutely thriiled. Dan looks on, feeling the stra: it show, but erying not ro let We TRACK BACK to shadows. veal Alex in £.9., watching from the (CONT 2NUE:165 156 5 187 168 16s ConrINurD: CLOSE SHOT - ALEX She vatenes with a look of conkempe, Ejnged with a peculiar fascination. Rer expreasion changes to one of @larm and sha shrinks back cut of sight. ‘OMITTED ALEX She suddenly clamps a hand over her mouth and starts ¢9 tun down the gardés away fron the house. She barely makes it to the bushes before she is vie~ ently sick. She comes up. gasping for air. She stands there in the stillness of the night, taking ia Jong, deep breaths. Then she softly walks away. INT. DAN'S “DEN° ~ NIGHT The remodeled attic, now furnished with Dan's posses— sions, his desk, etc., looking beautiful. The trap door opens quietly and pan enters. The house is asleep. fle pads over to his desk and sterec, puts on the @arphones and takes Alex's cassette out of his jacket pocket. As he listens, the CAMERA MOVES IN TEGHT: ALEX (¥.0.) (her voice inereasingly slurred) ‘> you thought you could just wade into my life and turn it Upside down without a thought for anyone but yoursel. You know what you are?) You're a cocksucking sonovabitch, Pan. [‘1l bee you : don't even tealty like girls. They probably scare you. [ xaaw do. As she rambles, we're IN TIGHT and startled when a pair of hands descend on Dan's shoulders. We jumps a mile. Tt is Beth -- in a nightgown. CLOSEC? ++ Dan's finger presses the aff button on the cape deck, | CONT=NOED)188 1t0 ww. a4. CONTINUED: DAN Jesus, you scared the shir out of me, BETH Sorry. I was just vondering wnat you're doing up so late... DAN On, oh, Listening to a deposition. I guess I'm still upset about the ear, needed to unwind... BETH Come on, I'LL give you a back rub. A back tub and a brandy and you won't know wnat Ait you, The words have an ominous double meaning for fan, but he hag ao choice, He lets ner tura out the Ligne. EXT. BEDFORD STATION HOUSE - DAY Dan walks ints the local atation houze. INT. BEDFORD STATION BOUSE ~ LIEUTENANT'S OFFICE = DAY Ban sits in a corner of the squad room. across from the LIEUTENANT, a shrewd Looking min his forties. He Starez at Dan with dark. p: ‘ing eyes. DAN Hy client wants it stopped. le wants an end to the harassment. LIEUTENANT had he's positive it was this woman who trashed his car? DAK (startled: Yes... who else? EUTENANT Any witnesses? DAN No... LIEUTENANT Wall, me's walcone to file a complaint, if it ll make nim Feel apy bettec. There's not a lot we can dc, without proof. (cont UES)17 COWTINUED DAN Look, Lieutenant... The woman's completely irrational. ‘There's no kelling what she might de, LTEOTENANT We can't go around arresting people on account of what they might da. You know that. bax I'm net asking... I'm not asking you to arrest har. {catching himselt} He just wants her warned. LIEUTENANT We could talk to her. Ik's gonna make things more public, wnich ne zin"t gonna like. [Tt may even aggravate the situation with the girl. BAN What do you mean? LIEUTENART Wall, whatever resentment she was feeling, she's probably got it out of her systen. Any action we take may simply provoke nez. DAN And if she hasn't “got it our of hec system”? What then? He's becoming increasingly irritated by the Lieuten- ant's casual approach. LIEUTENANT He‘d better cateh her in the ace, Then we can being (file) charges. DAN You're saying ha's (the guy's} just got te sit there and take The Lieutenant looks at hin with a little emile. He knows exactly wha this “client” really is. INT. GOODMAN, HURST CONFERENCE ROOM - DAY The litigation commicztes meeting is in session, arthur ig holding forch. {CONTINUED »azz CONTINUED: ARTEGR vis and sa, df everybody agrees, we'll take an imeediate appeal from Judge Whitman's order denying our motion to halt the take-over Bid. And if chat fails, we'll seek an expedited trial... Now with regard to Rogers versus Winitsky, Dan has what I think is a bold stroke, it’s a gamble but worth taking and that is to go for summary judgement. I've asked Dan to give yx the gist of his argument and then we can discuss details. an? woe Dan is startled and nervously fishing around his brief~ case. He hag forgotten the Brief. around ag the others waren, uncomfortably. Arthur recovers his disappointment by rearranging his papers. As Arkhur drones on, CAMERA CLOSES on fan. New it's DAN Thank you, Arthur. Just to bring you all up to speed (recap) on this Rogers case... Rogers is accusing Ninitsky of plagiarizing an acticle (by Winitaky}... I'm sorry, Arthury I seem to have left... I don’ seem to have the papers Zor the appeal here with me tright in front of me}... ARTEUR Jesus, Dan.., (Jesus, Dan} the Litigation commictee only meets once a month!... DAN Arthur... z understand, blew it. I'm sorry. (I apologize.) ARTHER (finally) All right. Moving on to Forsythe versus Plimpton. boes anybody Feel that we cugtt to be challenging the precedents set by the Fedeza: Appeals Court ruling in Harrison versus McDonald... starting to affect his work... DISSOLVE He keeps fishing173 theo ins 6 176A * 1? 17a 129 97. ‘OMITTED EXT, COUNTRY HOUSE - GARDEN - DAY At the rear of the house. There's 2 little wooden Ruteh with Bhe rabbit inside and Ellen is feeding it carrots, ELLEN Come on, Quincy... Here, Whitey, here, Whitey! You want a carrot? Here, Whitey, come closer... OMITTED EXT. COUNTRY HOUSE - DRIVEWAY - DAY Dan, Beth, Elles and Quincy all pile into Beth's car, in a hurry. The cat moves up the driveway and turns into the road. INT. ROGERSOR LIVING ROOM - DAY Howard and Dan are sitting in a cozy alcove in a large room, having a leisprely drink and Chatting. They are also watching Betn ané Ellen rehearsing for the Thanks- giving show at school, Joan is serving tea. BOWARD I see you didn't get your car back. DAN No... It's a write-off. The wiring's completely burnt out. ROWARD Amazing... Thase foreign cars. JOAR Beth darling (deat), here you are. She hands Beth a cup of tea, Beth ig renearsing Elles. BETH Thanks. You want to try it once more {again}? {CONTINGED;ay CONTINDED = ELLEN . (Mommy, I know my lines, you don't have te tell me.) BETH (Okay, let's hear itt) ELLEN Okay. “Dear Priscilla, Miles asked me...” BETR “ho agk you... ELLEN "to ask you te marry him.” BETa Very good. Now do it with the bac and the bow! Ellen puts on her Pilgrim's hat, and bows deep. ELLEN "Dear Priscilla, Miles asked me to ask you te marry him.” BETH sspeak for yourself, John!" That's what she will say. Very good, honey. you gat it! Bovard and Dan are watching them, gmiling. Dan calls out. DAN Ellen? Ellen. tone here, honey, Gimme a big hug. Ellen comes over, and Dan picks her up and holds her tight. He is overcome sith emoticn. Beth is watching. She sees the tears in his eyes. She whispers. : BETE You okay?? DAK (whispers 590) Yes... I'm Cine (okay). LLEN (Daddy, you're squeezing. ..1 He lets ner ge. Barm is touched but can"t quite £. aut where i: care from,qao lal 3s2 a3 14 as a6 ay. EXT. COUNTRY HOUSE - DRIVEWAY - DAY Beth's car draws up outside the front of the house. Ellen gets cut and runs toward the back of the house with Quincy. ELLEN Come on, Quincy! Dan sets off after her, Beth goes into the house, OMITTED INT. COUNTRY HOUSE = HALLWAY = DAY Beth comes through into the ball. She continues through to the kitchen. INT. COUNTRY HOUSE - KITCHEN - DAY As she approaches, Beth becomes aware of the SOUND OF BUEBLING HATER. Over on the cooker, a large stewpot steams avay, spilling over the Clase, producing an angry BtSsinc. EXT, COUNTRY HOUSE - BACKYARD - DAY Ellen comes around the back and runs up to the rabbit hutch. She pulls up in dismay. GER POV. The hutch is empty. ‘The rabbit {5 gone. ELLEN (wails) Daddy! Whitey‘s gone!! (DAN What?) INT. COUNTRY HOUSE - KITCHEN - DAY Beth approaches the cocker and raises the lid off the pot. She lecs gut a piercing scream. EXT. COUNTRY HOUSE - BACKYARD - DAY Dar reacnes Ellen just at that moment, As he hears the SCREAM, he turns in horror towards the kitehen door. {CONTINUED486 187 188 ava, CONTINUED: : INT, COUNTRY HOUSE - KITCHEN - DAY Beth stares at the contents of the pot. She is shaking uncontrollably. HER POV. The rabbit's glassy eyes stare back at ner. Sliced carrots bob in the boiling water in grotesque imitation of a stew. INT. COUNTRY HOUSE - NURSERY - AFTERNOON Ellen ix in bed, sobbing her heart out. Beth tries to soathe her, but the child is inconsolable, Semehow she manages to get her to calm down, INT. COUNTRY HOUSE = GIVING ROOm - AFTERNOON Dan stands staring out of the deor into the backyard. Te has begun to tain. He looke at the empty rabbit huten, listens for weeping upstairs. all is quiet. Beth comes downstairs. DAN {How is she?) She okay? BETH She's azleep... Did you cafl the police? Rot yer Why not? DAN Honey... (Beth) We gotta talk. BETH What about? Beth sits dcwn cn the sofa. ban closes the door Gutside, the encreacning dusk casts dark shadows inzo the room. He hesitates, BETH (continuing) fnat is it?? He turns to face hee, He takes a deep breath. DAN T know who did this. (CONTINUED)1a9 0 CONTINUED: BETH . You do? Who?? DAN Do you remember the girl who came ko see the apartment? The one I (we) tmet) sav at the Japanese restaurant? BETH The girl with blonde hair... DAN . (nods) (Yea. ) He can't speak, She watches, wondering. BETE You're scaring me. ‘why don't you talk? What 1s i (false levity) vo did you have an affaic with nec? DAN - (with difficulty ves. Beth burles her head in her naads. Dan sits down opposite her. Dan Honey, the last thing 1 ever wanted to do is hurt you. More than anything, I didn't mean te hurt you... Beth is stunned, keeps swallowing; confused. BETE tover lapping) Are you is love with her? DAN Of course not. [t was one nigh. Ik meant nothing, believe me... BETH fangrily confused) I don't get ity what does this have to do with what happened... (CONTINJED |189 1298, 203. CONTINUED: {2} DAN (shorty She's pregnant. BETE (stunned) She's pregnant... And it's yours? BAN (coming towards her} That's what she says... honey, she's crazy -- I don't know! . BETH Don't come near met DAN Please... I love you. Re reaches out hopelessly. BETH Just leave me alone! Get ou She keeps backing avay from him, and finally stacts flailing at him. BETA (eontinuing; sereams} Get the fuck owt!” How could you... DAN Beth, please, listen to me! She fushes at hin again, punching and scratching his face. He tries te protect himself without fighting back, BETH T hate you! I wane you out of here, understand? I want you out Of mere! Just get tne fuck out cf tere Dan is about to respond when they both realize: they turn and look, horrified. 4 R POV Ellen is standing there, watching then. she's never seen them like this. ALD three are frozen statues, blasted by circumstances. (CONTINUED!1aga 190 ig. 192 1924 13 194 ave. CONTINUED: HETE (sobbing? Oh God... OMITTED INT. COUNTRY HOUSE - BEDROOM - EVENING Dan packs a smal) suitcase. wWoodenly, he closes it and, carrying it, valks out of the room and down the hall, CAMERA FOLLOWING TO: INT. ELLEN‘S ROOM - KIGET The lights are out and Elien is asleep. Dan stands in the doorway, helplessly, ais eyes streaming tears. After a moment, he closes the door and walks down the ball. INT. COUNTRY HOUSE - LIVING ROOM - EVENING Beth sits in semi=darkness on the sofa. Dan dials, i) Weilo? Alex? voice is lixe ice. He hates nec so much it hurts. INT. ALEX'S APARTMENT - MAIN ROOM - NIGHT Alex answers warily, not quite sure now to play it. She adopts a heavily iconical tone. ALEX Dan, This is 4 pleasant su ise. BACK TO DAN - INTERCUT DAN L, yeu did it, didn's you happy nov? Yeah, w YOUres ALEX Am I happy? Now let me see —— I‘Ll have to think about that one. (CONTINUED198 OBA log. CONTINUED: DAN (Wetl, you think about it.) (It's all over, Alex, it’s finished.) - (ilwe told Beth.) (Beth knows about it.) Beth knows... I've toid her. ALEX Ob, sure.. You haven't got the balls. DAN Why don't you speak to here ALEX (less emrtainy Why should T want to talk to her? Beth gets up and comes ta the phone. She is very cool, very Calm, but there is a lethal undercurrent to her measured tone. BETH This is Beth Gallagher. Alex freezes. She is immobilized. ghe can't deal vith this at all. BETE (eentinuing) TE you ever come near ay family again, I'L) «ill you. Ts that understood? Alex slams down the phone. She ig shaking ali aver, staring wildly. Dan is looking at Beth. She hangs up. turns and walks away. OMITTED INT. HOLIDAY INN - CORRIDOR - NIGHT Dan is wearily yalking down the corrider to his room, INT. BAN'S SOTEL ROOM - NIGHT He enters, sees the maid cleaning in the bathroom, sees ca Sit op the bed. (CoNT INGED) ra196A 197 105. CONTINUED: DAN This is 408, AAy messages?... Thank you. He hangs up, looks at the maid, who is just leaving, then dials again, INT, COUMPRY HOUSE - DINING ROOM = PIANO = NIGHT eth is playing a sad piece by Chopin. Ellen is sit~ ting next to her. The PHONE RINGS. After two rings, Ellan rung to the kitchen ct answer it. _ ELEEN TDL get itis. Hell os Daddy! INTERCUT with Daas DAN Ei, honey... ELLEN paddy... (she's a bit confused} ~~ when are you coming hack? BAN 1 don't know, sweetie. How're you doing? ELLEN (like most Kids, she'll let tne growaups dic- tate the flow of the conversation) Fine. DAN Yeah? ELLEN Grandpa taught me anather care Rrick. DAN The one with the jacks? ELLEN No, the one vith the kings, Oh, 7 see. . (EDNTINGED)197 197A ise 21998 106. CONTINUED: ELLEW ° Fine. DAN Will you tell her I said "Hello"? ELLEN Yeah. DAN Don't forger, ELLEN. I won't. . DAR I send you lots of love. Both of you, okay? Weat are vou eating? ELLEN A fruit roll-up. Daddy... Will you call me tomorrow? Dat I promise. Don't forget to tell Mom. ELLEN (I won't.) okay. DAN "Bye, suaethear, ELLEN ‘Bye. She hangs up. INT, COUNTAY HGUSE - AT PIANO - NIGHT Beth sits there, listening, teary-eyed, biting her Lip. After a moment, she scares playing again. INT, HOLIDAY INN - DAN'S ROGH - NIGHT Dan sits on the bed, working, staring at an inane site com on Ty. INT. ALEX'S LOFT - SIGHT Alex is seen alone and forlorn. She switches a lamp or and off,199 200 297. INT. BETH'S STATION WAGON - TRAVELLING ~ DAY Beth is driving along, deep in thought. EXT. PLAY SCHOOL - SEDFORD - DAY Parents are collecting their children from the local infant school. Been drives up and parks. She gown up ro She entrance. One of the TEACHERS seems surprised to see her. TEACHER Hi, Mes. Gallagher. Did you forget something? : BETH I've cone ro get Ellen. TEACHER I thought you picked her up already... I'm sure she's left! Immediate panic registers on Beth's face, The Teacher also senses trouble. They enter the building tagetner, They meet another TEACHER in the hall. TEACHER {eontinuing) Betty, is Ellen in here with you? : REDTY She's gone nome already. TEACHER, Are you sur BETTY Positive. Sne's not inside and she’s not in che playground... {to Beth} T thought you'd picked her up! TEACHER Well, whe did pick ner up?! BETH Qh, God? TEACHER Don"t verry. She can't have got far. BETH You don"t uaderstand. gn, Sed: (CONTINGED)200 201 202 203 204 208 206 108. CONTINUED! . TEACHER T'1l check her locker. Beth zuns down the corrider to Ellen's classroom. A LIMLE GIRL is tying her laces. BETS (continuing) Honey, where's Ellen? (Have you seen Ellen?) LITTLE GIRL She's left. (She's gone) (No...) - Beth is running back to the front door. She passes the Teacher. BETH Call the pelice: INT. STATION WAGON - TRAVELLING ~ DAY Beth is driving along the route hone, checking for any sign of Ellen. She is completely distraugnt. BETH Oh, Gad...! on, God! BER POV ~ THE SIDEWALK Qn the sidewalk, a group of children playing. No Ellen. CLOSE SHOT - BETH Ag she turns back te face ahead, @ sudden look of ala AHEAD - THROUGH THE WINDSEIELD Acar Elashes across ner bow, HORN BLARING. EXT, ROAD JUNCTION - DAY Beth's car SCRESCHES to a halt. Is - BETH'S CAR = SAY Shaken, she sets off again. (CONTINUED)206 207 208 203 210 211 . . 109. CONTINUED: BETH Please, God... EXT. PLAZLAND - DAY Ellen holds hands with someone taller than she as they walk into Playland. Ik ig Alex, who smiles down at her. INT. COGNTRY HOUSE HaLLwar - DAY The front door bursts open and Beth runs in. BETH Elien... Elleni... EXT. PLAYLAND - DAY Ellen and Alex leave the ice cream stand, aach clutch- ing a cone, They valk along the migway. Some of the rides are closed. alex points. +The Playland "Musical Revue. Alex and Ellen sit among the few spectators. INT. COUNTRY HOUSE ~ DAY HANDHELD as Beth tears in and out of rooms, sereaming Ellen's name, Constricting, strangulating panic. EXT. PLAYLAND ROWBOAT LAKE - DAY We see a man helping them inte a boat. Utterly serene. Alex rows gently as Ellen, in che stern, trails her hand in the water, Alex smiles enig- macicatly. Ellen, absorbed by the water, deesn't notice. Suddenly, Alex gets up asd advances meracingly on Ellen. Bllen doesa't understand. ELLEN Gon’t nurt mel! Just as suddenly, Alex sits back dwn again.Zaha 2118 . zz 213 aie 2s 216 2188 27 120. INT. COUNTRY HOUSE - DAY Beth runs up the stairs, calling for Ellen at the mur~ sery door. Desperate, she runs back down and tears out of the house, slamming the door. OMITTED EXT. PLAYLAND - ORAGON COASTER ENTRANCE — DAY Alex and Eilen are wandering across an open square. WIDER ANGLE. They are approaching the covered terminal shed for the full-size roller coaster. OMITTED EXT. PLAYLAND - DRAGON COASTER - DAY fe are LOOKING HOw the steeply sloping krack from one of the pinnacles of the raller coaster. The carriages Climb slowly TOWARDS US with an ominous CLANKING OF CHAINS. CLOSE ON ELLEN AND ALEX Alex and Ellen are laughing and yelling, having a fine time. ANGLE ON enthralled -- something's about to neppen! ANOTHER ANGLE dhe leading carriage reaches the tep of the slepe, hovers there, INT. BETH'S CAR - TRAVELING - DAY Beth is driving at speed, iooking frantically from side to side, The START QF A SCREAM... EXT. ROLLER COASTER - DAY whien turas gut te be flien's toyful cry as tne roller goagte? plunges doun! (cow218 2188 219 220 221 222 223 224 125 226 i. CONTINUED: Alex and Ellen are flung back against their seats by the centrifugal Force. The CAMERA i8 mounted on the front of their car, LOOKING BACK ak them, making them the only Fixed pointe IN THE FRAME. The background behind them seems ta travel at almost unbelievable speed. EXT. ROAD JUNCTION - DAY Beth's car arrives at a junction and SCREECHTS to a hale. ENT. BETH"S CAR - DAY On impulse. Beth decides to take a left turn, spianing the wheel and taking off with a violent swerve. EXT. ROLLER COASTER - LOW ANGLE - TRAVELING - DAY A seemingly endless cantilevered curve hurtles TOWARDS us. EXT. BETH'S CAR - TRAVELING - DAY The car races; reflections from overhead trees flashing on the windshield. She driver inte = tunnel, EXT. ROLLER COASTER - ANGLE ON ALEX - DAY dec hand on the safety-bar, They come cut af a tufnel! INT. BETH'S CAR - TRAVELING ~ DAY Beth -- something attracts ber attention: she turns ta see. OMITTED EXT. ROLLER COASTER = ANGLE ON ELLEN = TRAVELING - DAY Smiling, har eyes wides as... INT. BETH'S CAR - TRAVELING - DAY Beth cranes her neck as she overtakes a woman and a little girl, walcing on the sidewalk.227 228 228 239 zal 232 233 234 235 236 i222 EXT, ROLLER COASTER = TRAVELING - DAY SUBJECTIVE, FRONT OF THE CAR POV, another plunge... INT. CAR = BETA'S POV = TRAVELING - DaY The Little girl is nothing iske Ellen. EXT. ROLLER COASTER - TRAVELING - DAY The coaster POV, hits bottom, and the cars rear upi INT, BETH'S CAR = TRAVELING - DAY Beth reacts to the litcle girl, turns and her eyes widen... INT. BETH'S CAR - TRAVELING - DAY Her POV ahmad: Immediately in front of her a station wagon slowed down to turn off the road. [ts taillights race forvard to meet the hood of Betn's caz. EXT. ROLLER COASTER - TRAVELING - DAY Ellen, staring right at the CAMERA. The SOUND OF TEAR- ING METAL. INT. BETH'S CAR - BETH'S POV - TRA ING - DAY The car's hood smashes into the back of the station wagon with a violent impacz. EXT. BETH'S CAR = DAY The station wagon is driven along by Beth's car for twenty yards o¢ moce before the two venicles come co a rest With a SCREECH OF TWISTING METAL. Then all is silence. OMITTED EXT. ALEX'S CAB ~ DAY Briving through tne ccuntryside.237 238 113. INT. ALEX'S CAR = DAY Alex driving, serene; for 2 moment we don’t know uhere she ix or what's happened to Fiten. She's looking Pleased with herself. We PAN OVER to Find Ellen on the gaat next to her, EXT, COUNTRY HOUSE - DAY Alex stops the car at the top of the driveway. Alex reaches over tovards Ellen -- byt past her. She's opening the passenger door. Outside, we can gee that Zllen has been brought hone. ALEX Ellen... (Gimme) Can I have a kiss? Ellen comes back in the car and gives Alex a kiss on the cheek. Then she turns and runs down the driveway, ELLEN ‘bye... ALTERNATE: Ellen climbs back in and Alex leans down to 249 240 kiss her. Suddenly Alex grabs her by the hair and cuts off a handful of hair with scissors taken from batween the front seats. Ellen reacts horrified. She starts etying hysterically, running towards the house as Alex, satisfied with the escapade, drives on. OMITTED INT. WESTCHESTER HOSPITAL - CORRIDOR - EVENING Dan is running along the carcidor, looking at the names oa the doors. He comes cound a corner, catching up with a nurse. DAN I'm looking for Sech Gallagher. Ta her husband. WERSE She's in Tventy-twa at the ent of the hall, At che end of the hail, Scan is sitting an a chair w: Ellen on ber lap. Etlen locks up and spats ner father. ELLEN Daday!... {CONTINUED }zat 2aL 242 243 14. CONTINUED: She gets off Joan’s lap and starts running towards hia, DAN (waves at Ellen) Is she all right? Is she going to be all right? HORSE Yes. (she'll be ali right.) But she was very lucky... it eoutd have been a lot worse. A lor worse. Ellen arrives at a dead cun. Oan bends down to sweep her up in his arms, She's crying now, the tension flooding out of ner. DAN Ob. baby...! Oh my baby! it's okay, Daddy's here. OMITTED JWT, WESTCHESTER HOSPITAL - BETH'S ROOM - EVENING Beth is lying in the bed, sedated. There is heavy bruising around her eyes, but she's al! in one piece. Howard is sitting by the bed. The dear opens slovly. Dan enters. Re approaches the bed cautiously. Howard gives him a cold, hard look. {DAN Howard...) DAN Tr's Dan... Everything's gonna be all cightss. ¢1 love you...) Be takes her hand. Briefly, het eyes open and she Fegistera his presence. Her hand gives his a little. almost imperceptible squeeze, hefoce her eyelids flut- ter shut again. He looks down at her. A vulnecable, injured Cigere. He closes his eyes. INT. DAN'S RENTED CAR - TRAVELING = NIGHT it's raisiag heavily. We see Dan through the car wind= shield, the wipers Crossing back aad forth across his face with insistent urgency. There is a lock of stee! in his eyes.24a 245 246 2468 zat iis. iS POV - ABFAD ‘The Henzy Hudson Bridge comes TOWARDS US. He is enter~ ing Manhattan. EXT. ALEX'S APARTMENT BUILDING ~ NIGHT ban lurks in the shadows outside the entrance, ag a YOUNG COUPLE comes out of the building. ge slips in- side before the door can close, INT. ALEX'S APARTMENT BUILDING - CORRIDOR - NIGHT an stands at the door to Alex's apartment. #e rings the bell. After a moment, Alex opens the door 2 crack, to the extent of a shore chain, Seeing it's him. she quickly tries te close it. He slams Ais shoulder against the door witn all nis foree, with the strength of all his pent-up rage. In b.g. she's listening te “Madame Butterfly." INT, ALEX'S APARTMENT HALLWAY ~ WIGHT Alex comes flying back into the hall, the chain ripping Gf ite beacket vith a SOUND OF TEARING WOOD. Dan comes crashing into the apactment. The music continues throughout Alex {6 on the floor, thrown there by the impact of the @aor, She tries ta crawl away, startled by the sav- agery of his appearance, He throws himself after hec, trying to grab her. He follows her towards the main roam. MALN ROGM = NIGHT Alex gets to her feet and races into the main room, trying to Set up roadblacks to slow Dan down. She throws a floar lamp down behind her, then the bike which is leaning againge che wall. Te doesn't slow Dan down very mucn, He ‘simply jumps over the up-ended lamp and the bike sprawled across nis path. Alex ig cunning through the bedroom, with Dan clase behind her. She manages ta get inca the bathrsom, and turns te pull the deor shut, fust as Dan as reaching for nec. (CONTINUED!24? 248 dae. CONSINUED: as she pulls at the door, Alex pins his arm against the door jamb. He yells cut in pain, and grabs her bead, pushing it violently against the glass door. Ag ahe struggles to free herself, he pushes the door open, and Alex lands on the bathroom floor. He throws himself on her and starts to choke her. She manages to free a leg. and gives him a kick in the groin, which makes him turn avay in pain. Alex is up and out of the bathroom. Alex comes running out of the bathroom, but Dan is ¢lase behind her. As she reaches the other end of the bedroom, he reaches for her. For a moment, hé ia not looking where he is neaded. He crashes into the glass partition, just as she srenches away, Glass is flying in all directions. Alex loses her balance and falls geea her all and pounces on her. to the glass. oan On ner hands and knees, she tries to escape into the kirchen area, but Dan is right behing her. MITCREN - WIGHT Dan grabs Alex and pulls her up. In a mad rage, he slams he: into a kitehen cabiner, she tties to get away, but he Slams her into the srcve, sending the light above it svinging madly. Ee forces her to the floor, and pins her down. Completely out of control. ke scarts to choke the life eut of her, She can't get any aiz, and is gasping and nok ing. Suddenly, ne seems to realize that ne is about to iil her. He lets go, and gets cp, panting. Dan pulis himself co gers avay. feet at the stave, and scag- (CONTINTED)243 249 thro 252 253 234 258 CONTINUED: Alex crawls to the sink and slovly comes up coughing and retching. Sha puts her face in the sink, tries to splash some water on it. She notices 2 large kitehen knife, lying on the edge of the sink. Slowly she gzabs it, She turns to where Dan is stand- ing at the counter, catching his breath. With a terrible scream, she attacks, the knife raised high over her head, Dan turns in herror ta see her coming at him. He makes a grab for the knife, but she won't let go. He pushes her back against the far wall §n an effort to wrestle the koife from her. We nolds her hand with the knife high and bangs it against a water pipe. The pain makes het release her gtip, and he grabs the knife from her, Suddenly, it is over. He backs avay from her slowly, - leaving her ‘standing, holding on for support. She watches bin with a strange, sad smile ay he backs avay, puts the knife on che counter by the skove, and wordlassiy turns and walks out of the room. OMTETED: . INT. BATHROOM = NIGHT Alex ig sitting on the bathroom floor, holding the kitchen knife, almost ritualistically, in front of her. Then, stowly and deliberately, she puts it to her throat and draws it across. As the bleed starts flowing. she slowly falts t> the floor. ‘OMETTED INT. BEDFORD STATION HOUSE - LIEUTENANT'S MORNING. Ice = The usual activity of :ne Squad Room is interrupeed by Dan's raised voice, coming out of the Lieutenant's aifice, He closes the doo:. (CONTINUED }