STATE AND MAIN By David Mamet (based on an actual idea) Draft 9 August 1999, revised 18 August 1999, revised 1 September 1999, revised 9 September 1999, revised 10 September 1999, revised 14 September 1999 Final Shooting Script NOTE: THE HARDCOPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FROM THIS SOFTCOPY. FADE IN: EXT. FIREHOUSE - DAY. Ann is walking down the street. The firedog runs out of the firehouse, she gives the dog a biscuit, and pats him on the head. The fireman is out front with a cup of coffee. Ann hands him a poster. EXT. STATE AND MAIN. INTERSECTION - DAY. Morris and Spud, two codgers, are about to cross the street when they hear a beeping and stop. As they cross, we see the tail end of a van, and the group nods in that direction. MORRIS You hear that? SPUD Yes, I hear it. MORRIS Drive a man to drink. Took me near half an hour, get across the street yesterday. SPUD I saw Budgie Gagnon, leaning on the bank of the building. Said, "What are you doin'?" He said, "I'm waitin' for the 'leven o'clock crossing..." As Morris and Spud speak a car is coming down the street, and bounces in the pothole. MORRIS Ywanna fix something, you should fix the pothole. Yessir, they should be trussed up, thrown off some high building. DOUG MACKENZIE, a young Republican type, walks up to join them. DOUG Who's that? MORRIS Whoever spent ten, f'teen thousand dollars, a new traffic light, you could grow old, paint your house before it lets you cross the street, and then, not fix the pothole. SPUD What was wrong with the old traffic light? INT. COFFEECORNER - DAY. They enter the Coffeecorner. Carla is serving the folk, and Jack the owner is behind the counter. DOUG I'm glad you asked...I'll tell you what was wrong with it. And what was wrong with it was it was behind the times. Now: You want to bring business into this town? You have to plan for a Waterford that Does Not Exist. Not at the moment, no... ANN Morning, darling. DOUG Morning. CARLA Hi, Annie. Ann hands Carla a poster. ANN Morning, Carla. Doug and the two codgers move to a table by the window where Carla, the nubile waitress, brings them coffee. Ann talks to a woman at the counter. MORRIS ...the damn thing... SPUD No, I'm serious, election's coming up, a lot of people are pretty upset... DOUG They are...Yes. I'm sure they are... WOMAN AT COUNTER Annie, I'm going to be a lil late for the rehearsal, tonight. ANN S'Okay, Maude. You know your lines...? DOUG ...I'm sure that people are upset... MAUDE I know em, I don't know what order they come in... ANN We'll work it out... JACK What're they on about? ANN Traffic light. JACK Waal, no, th'trafficlight's Doug's thing. That's his thing, fine. DOUG Thank you, Jack, and... JACK But we got to talk about the pothole. DOUG Jack... JACK A public office is a public trust... This is why this is America. Question is: who owns the street. Outside the front booth, on the street, the airport van cruises by. EXT. STATE AND MAIN - DAY. As they walk out we hear a high pitched beeping sound at the traffic light. We see DOC WILSON crossing the street, holding his doctor's bag. An ELDERLY MAN approaches Doc at the crossing. As Walt and Bill walk, the airport van follows them. TOWNSMAN Doc, those pills, y'gave me for my back? I'm not sure that they work. DOC WILSON Well, I'm not sure either, but y'don't hear me complain...come by th'office, end of th'afternoon. TOWNSMAN Thanks, Doc... BILL This is your movie, this is small town America. WALT Town in New Hampshire was small town America too. Forty thousand dollars a day, to shoot on the street. And then they kicked us out... They stop in front of a rack of fifty "factory seconds." Black and red hunting jackets, in front of the sporting goods store. The sign reads "FACTORY SECONDS, FIVE DOLLARS." BILL A jacket for five dollars...I can buy this town for fifty bucks. WALT You told me that about the last town. BILL Yeah, but they never made a movie here. WALT I'm bleeding, Bill, I'm bleeding... BILL ...why am I here...? WALT What, what, what, what do they got that can pass for the Old Mill... Bill shows Walt a brochure from Waterford, which shows a picture of the Old Mill. Walt reads. WALT (CONT'D) "The Waterford Mill, built in 1825, and long a tourist attraction..." Wake up Uberto ANGLE INT. THE AIRPORT VAN UBERTO is asleep. Bill wakes him up. UBERTO Where are we? WALT Givvem a cigarette... Uberto comes out of the car and squints around. UBERTO ...they ship our Old Mill from New Hampshire...? BILL They're holding our Old Mill for ransom. UBERTO We build it? BILL We don't have to build it. He shows Uberto the brochure. UBERTO We build the firehut...? Walt shows Uberto the Firehouse. Uberto looks through the viewfinder. UBERTO (CONT'D) We have to lose the window. WALT ...we can't lose the wind... UBERTO (pulling out storyboards) Then I can't do this shot...you wants me to push in--I can't push in through the window...We go back to New Hampshire? BILL NO, we can't ever go back to New Hampshire. A pickup truck with two calves in it stops, the driver seen from the back is a farmer smoking a pipe. WALT NO, we're gonna stay here. This is what my people died for. The right to make a movie in this town. INT. TAVERN INN LOBBY - DAY. A desk clerk looks up. Behind the desk a display of several souvenir plates, "Souvenir of Waterford, VT", with a picture of the Old Mill on them. Walt picks one up and hands it to Bill. DESK CLERK May I help you? WALT (followed Bill) I want to talk to the manager... Walt talks into his cell phone as he talks to the clerk. DESK CLERK Would you like a room? BILL Na, we wanna rent the whole hotel. WALT (into phone) Hello, Tracy; we gotta new town. We're...where are we? BEAT. Bill looks around, sees a sign on the desk. Consults his tourist folder. As they talk they walk into a deserted ballroom and play shuffleboard and archery. BILL (carrying Waterford plate) Waterford, Vermont. WALT ...you got to get me that street for nothing... BILL I will. WALT (into phone) Waterford, Vermont. Where is it? That's where it is... Walt carries the shuffleboard stick over his shoulder. INT. WALT'S OFFICE - NIGHT. Walt is talking on a cellphone. A male P.A. is bringing in bags of equipment. Bill is still sitting perched on a desk, typing into his computer. Uberto is sitting on a couch smoking. We see the shuffleboard stick on the desk, and the Old Mill plate on the wall. WALT (to phone) Because, because...we don't have to build an Old Mill -- they have an Old Mill -- yeah. It's on a stream -- that's where you put a mill. BILL ...they run on water. WALT (to phone) Now: I'm looking at the... He gestures for Bill who hands him the storyboards. WALT (CONT'D) I've got scene twelve... (to Carla) Shouldn't you be in school...? CARLA It's night. WALT (to phone as he shows the Old Mill storyboards to camera) Scene twelve...arrival at the mill. ANGLE Scott enters. SCOTT Mr. Price, Mr. Price...? (he hands Walt flowers) BILL What...? They go back to the flowers. Walt takes the card, reads. WALT "Bring it in on time and there's more where these came from. Marty. P.S. I want to talk to you about a product tie- in..." CLERK I'll put the, in your r... WALT Somebody make a note. I want Li..., for the broad...what does she like? Lilacs. Okay. A truck of lilacs when the broad comes. And get something for Bob Barrenger, get him, what does he like...? CLERK Bob Barrenger...Bob...Bob Barrenger's in this movie? WALT That's cor... CLERK (awed) He's staying here? Bob Barrenger is staying he...? WALT Put something in his room. What does he like? BILL Fourteen year old girls. WALT Well, get him something else and let's get out of here in one piece. Get him a half of a 28-year old girl. INT. PROD. OFC. - WAITING ROOM - DAY. INSERT Front Page: Burlington Banner. Picture of movie star Bob Barrenger, and Banner headline: "Waterford chosen as sight of new Bob Barrenger film. A story of small town life based on..." Carla knocks on the door to the back room, voices from inside. Outside, on two chairs, the MAYOR, GEORGE BAILEY, a man in his fifties, and JOE WHITE, the writer, dressed in an army field jacket and jeans, waiting to be admitted. Joe is reading an old "Welcome to Waterford" tourist folder. The door to the room opens, and Joe stands, looks inside, squints. Takes off his reading glasses and puts on another pair. JOE (to the open door) I, I'm sorr... (as the door closes, to a passing aide) ...I lost my typewriter... Carla brushes past them. CARLA Hi, Mr. Bailey... MAYOR Carla, would you tell them that I'm... WALT (from inside) ...What? What is it? Carla enters the back room. As she does so, she passes the First A.D., who is on the phone. FIRST A.D. Could I speak to my wife, please --? Camera takes us with Carla into the back room. Past the A.D. SECRETARY (to A.D.) You've got a call... INT. PROD. OFC. & WALT'S OFFICE - DAY. Inside the room, production boards being carried in, blackboards, schedules taped to the wall, sketches of Main Street, a large "days till shoot...4" sign. The Old Mill plate is on the desk. The PRODUCTION DESIGNER is bent over a worktable, he holds a compass, and refers to blueprints and a scale model of the Firehouse and the Old Mill, which are on the table. Walt is holding glossy photographs, and leafs through them as the Production Designer talks. They leaf through storyboards. We see that Walt is leafing through glossy photos of horses. Walt has shuffleboard stick over his shoulder. ANGLE on storyboards of firehouse scene. PRODUCTION DESIGNER And Uberto tells me he can't take this shot, unless they let me take out the firehouse window. COSTUME DESIGNER Walt, I've got to talk to you about her nude scene. Carla enters. WALT Aren't you ever in school? CARLA There's other things to be learned. WALT Izzat so? CARLA The Mayor's outside. WALT What's his name? CARLA Mr. Bailey. Walt goes to the door, opens it, looks around. EXT. WALT'S OFFICE - DAY. Joe reading the Burlington Banner. He stands up. WALT Mr. Bailey...Mr. Bailey...? Walt and Mr. Bailey enter Walt's office. JOE (to passing secretary) I lost my typewriter...? A.D. (passing) Yes, could I please speak to my wife...? ANGLE interior Walt's office. WALT I have to tell you, I can not express to you how happy... MAYOR And we're glad to have you here... WALT My golly, you know? All my life I grew up in the city, but every summer...would you like a cigar? MAYOR (of cigars) Aren't these illegal? WALT Why would they be illegal? BILL ...there's a trade embargo against Cuba. Pause. MAYOR Well, you know, Walt, I just wanted to say that anything I could do... WALT That's very kind of...as a matter-of- fact, one, I hate to bother you with... MAYOR ...not at all... WALT ...we need the shooting permit for Main Street... MAYOR Whatever you need. The City Council, of course, has to pass on your... WALT ...the city council... MAYOR On your "permit," but that is less than a formality. WALT ...it is? MAYOR I am the City Council. We meet Friday, and I... WALT George, that is so kind of you. MAYOR And, my wife wanted to, wanted me to ask you, we'd like to welcome you, we'd, she'd like to have you to dinner at our house. (beat) I don't mean to be... He hands an invitation to Walt. WALT Are you kidding me? We would be de... Phone rings. Walt motions to an aide, who writes in green on a production board...Tuesday 12th, dinner, Mayor. MAYOR Well, I won't take more of your time... BILL Walt, it's Marty on the Coast... MAYOR We'll see you Tuesday, then... Walt starts for the phone. WALT It's one of the great, great pleasures meeting you... Mayor leaves the office. BILL It's Marty on the Coast - WALT On the coast? Of course he's on the coast, where's he gonna be, the Hague... Walt goes to the phone. WALT (CONT'D) (into phone) What? Marty! Hi. We're... (pause) The new town is cheaper than the other town. We're going to save a for...because..because we don't have to rebuild the Old Mill, they've got an Old Mill...they've got a firehouse...they... A production assistant comes in, installing a piece of equipment. She brushes past the drywipe board, where we see she wipes out "Dinner with the Mayor." WALT (CONT'D) Baby, baby, I want to save the money just as much as you do..no, no it's not coming out of my pocket, it's going into my pock...my...my and your pock...yeah? Okay. A product placement - tell me ab...he's going through a tunnel. (to Production Assistant) Whoa, whoa, whoa...you wiped out the board. DINNER WITH THE MAYOR, TUESDAY NIGHT, write it in red. That's all we need, to miss Dinner with... First A.D. sticks his head into the room. FIRST A.D. We can't shoot in the Old Mill. WALT (to phone) Wait a sec, Marty. Call us back. Two minutes. He hangs up. Pause. FIRST A.D. We can't shoot in the Old Mill. WALT I just saw the Mayor, he said anything we... FIRST A.D. It burnt down. BILL When did it burn down? First A.D. takes out a book, "The History of Waterford", and reads. FIRST A.D. Nineteen sixty. "Part of a spate of suspicious fires, the Old Mill, the..." He hands Polaroids of the burnt Old Mill around. All look at them. ANGLE INS Debris by some water. WALT You told me they had an Old Mill here.. FIRST A.D. "Suspicions of arson, these fires, believed set by a disturbed Teenager, were, in fact, the inspiration for the formation of..." He puts the Polaroids down by the model of the Old Mill. Beat. Joe White, The Writer, enters. BILL But, does it have to be an Old Mill? JOE Hi. WALT Does it have to be an Old Mill? Where have you been? JOE I was in New Hampshire. I was at the Old Location. WALT We can't shoot the Old Mill. JOE (laughs) You know, they told me there were gonna be some jokes. Kid the New Guy... BILL The Mill burnt down. He shows the Polaroids -- they show the debris, and Bill standing by them. BILL (CONT'D) Wonderful scr... JOE (pause) Can't...can't you build the Old Mill? WALT We're out of money. JOE You built an Old Mill in New Hampshire... BILL They're holding it for ransom. JOE Uh -- why did we have to leave New Hampshire? Pause. The phone rings. WALT Halo? Marty? (to Joe) What would they have used instead of an old mill? We need it tonight. (to phone) Marty? Yeah you were saying...? JOE I can't write it. I lost my typewriter. WALT Grace: get Mr. White a typewriter. JOE I can only write on a manual. WALT I know the feeling. JOE Well, you know, you know, that's a lie, I, I... WALT Grace... JOE That's a real fault, I... WALT Grace. Get Mr. White a manual typewriter. (to Joe) It's not a lie, it's a gift for fiction. And somebody find me my lucky pillow. He nods at Joe, who leaves the office. Hold on Walt as he looks at horse pictures. WALT (CONT'D) How big is this horse? BILL (looking at the resume) Fifteen hands. WALT What is that in fingers...? Just kidding, get me this horse. BILL This horse is booked. WALT Tell the guy, get me the horse, I'll give him an Associate Producer credit. ANGLE On Joe, outside Walt's door, looking at his script and shaking his head. ANGLE HIS POV INS THE SCRIPT We see for the first time that the name of the script is "The Old Mill," by Joseph Turner White. We hear raucous laughter from Walt, et al, in the b.g. INT. TAVERN INN LOBBY - DAY. Joe passes the First A.D. on the telephone, sees Bill. The P.A.'s are heaping mounds of luggage. FIRST A.D. Well, no, the labor with a first child can sometimes be prolonged, as much as... BILL (to P.A.) Find Walt's lucky pillow. JOE What's an Associate Producer credit? BILL It's what you give to your secretary instead of a raise. The desk clerk in an argument with an electrician. ELECTRICIAN ...put a V.H.S. and an air-conditioner and a refrigerator in that room, she's going to blow... A delivery man appears with an invoice and a crate. Clerk checks the invoice against a list. CLERK This isn't Evian Water. DELIVERY MAN It's water. CLERK I can't sign for it, I'm... ELECTRICIAN ...she's going to blow. CLERK Well, you re-wire... ELECTRICIAN I rewire it, I'm going to have to tear out half the, look, what do they need with fifty-four telephone lines? CLERK Freddy, Freddy, I work for these people, you...it is to be done, you see that it's done... The GIRL PRODUCTION ASSISTANT arrives with a huge bouquet. GIRL PROD. ASST. I found lilacs! CLERK Wonderful, that's... Joe the writer enters, goes up to the desk. JOE Did they find... The Clerk's eyes turn toward the door. Everyone's eyes turn towards the door. JOE (CONT'D) (as he writes in his notebook) Did they find my typewriter... ANGLE POV Bob Barrenger, the star, screamingly fit, leather jacket, jeans, carrying a gym bag. He smiles, goes up to the desk. As he goes up to the desk, teenagers, who have been waiting in the lobby, crowd to him. CLERK I told you!!! All of you get back!!! Get back!!! This man is a guest here...!!! The teenagers retreat. BOB Hello, I'm... CLERK Oh, Sir, I know who you are... BOB Bob Barrenger, I'm with the mo... CLERK Sir, sir, we're so, we're... (he hits the bell) Front! Front! We are so, I've seen, I know everybody says this, but I've seen every every one of your... (to Electrician) Freddy, take Mr... ELECTRICIAN ...I'm working. CLERK Your room is 414 through seventeen. I'm Scott Larkin. Anything you need, this is my private... (hands him a card) BOB Glad to meet you, Scottie. I'm just here to do a job, just like the rest of these... FIRST A.D. walks through the lobby. FIRST A.D. (to Joe) Have you got the new pages on the Old Mill? Hey, Bob. BOB Hey, Tommy. Heard your wife's having a baby. FIRST A.D. That's right. BOB You know who the father is...? FIRST A.D. They think it's your First Wife... BOB That Could Be. An old man, the BELLHOP, is sitting by the front door, eating his lunch out of an old galvanized tin lunch bucket. He puts it down, and gets up and takes the bags. The lobby is filled with gawkers. CHUCKIE, a young boy holding a bat and ball, comes over with an autograph pad. FIRST A.D. (to Clerk) I'm going to give you a list of Mr. Barrenger's dietary requirements. CHUCKIE Mr. Barrenger, I... CLERK Not today, not today, Chuckie, Mr. Barrenger has just... Barrenger brushes him aside. BOB (to Chuckie) How do you spell that, son? With an I.E.? Chuck? What're your hobbies...? CHUCKIE Baseball. BOB Baseball! That's the national sport! Gimme that! He takes Chuckie's ball and autographs it, "CHUCKIE! From your pal, Bob Barrenger." BOB (CONT'D) Chuckie... CAMERA PANS off Bob as he talks to Chuckie, and onto Joe, who is wandering around the lobby. The First A.D. comes up to Joe. FIRST A.D. How you doin' with the Old Mill pages? JOE I need my typewriter. Did they find my...? INT. COFFEECORNER - DAY. ANGLE INS Pan off "Trials of the Heart" theatrical poster. Two old codgers, Morris and Spud, and Jack sitting in the same window booth chatting. Phone rings. Carla answers it. CARLA Coffeecorner. JACK Fellow gets a calf, it's forty below, calf gets out, he hears that animal, he's going to, get up, pull on his jeans... The Mayor is taking a pack of Camels from Carla's father. ANGLE On Carla, at the counter, reading the script "The Old Mill" surreptitiously. MORRIS He's going to get that calf. SPUD Mmm... CARLA (into phone) Thank you. (hangs up, to her father who is behind the grill) Vanilla Frappe. Two tuna B.L.T.'s... JACK What's a Tuna B.L.T.? CARLA Oh, Dad...didn't you read in People Magazine... ANN Well, I for one, am glad of a little diversion and I'm glad they're here... DOUG What I am saying, is, we have to Look Out For Our Own...Now: they want to close down Main Street... JACK Ywanna talk about Main Street, whyn't cha fix the pothole? ANN Doug, it's, what did you...? Three days, three, four days. We'll have a record of our wonderful life. DOUG Annie: you stick to the Amateur Theatricals. This isn't quite the same thing, you see? This is Big Business, in which, our Life... (to Mayor) ...s'no less a commodity than...than our... ANN Water or mineral deposits. DOUG Waal, that's what I'm saying. JACK Communist Country, he hears that Calf, it's two a.m., four feet of snow, what does he say? "That's the State's Calf out there..." He rolls over. "Wake me at Ten." Carla, who has been waiting for the order to be prepared, takes it from her father, starts out the door. CARLA I think that they're nice. ANN I'm sure they are. JACK That's the difference, Communism and...you know... SPUD Communism's over. JACK That's what they said about Warner Brothers, 1985, but if you look at their price-per-share... CARLA Dad, I've got to go to Terry's house to study tonight... JACK I want you home by Nine. DOUG I want to tell you something, Ann: you stay soft all your life, people despise you; it awakens Avarice in them, they take advantage of you, and that's Human Nature. She gets up. She starts to exit the Coffeecorner. Jack picks up a copy of 'People' magazine. INSERT An article on Bob Barrenger. Carla has gone over it with a highlighter. The article is called "Bob Barrenger's Little Problem." ANGLE Interior Coffeecorner. DOUG (CONT'D) We on for tomorrow night? ANN After Drama Group. DOUG Drama Group? ANN Tuesdays and Thursdays. But after Play Practice, I'm yours. DOUG Go you Huskies... He starts to exit and turns back. DOUG (CONT'D) And I might have something important to tell you... ANN What is it, a surprise? DOUG That's right... They exit. MORRIS She coulda done better than him. SPUD It takes all kinds. MORRIS Zat what it takes? I always wondered what it took... We hear the traffic light beeping from the street. EXT. BOOKSHOP - DAY. Joe, pacing in front of the window. Theatrical sign in the window. Sign in the window: "Out Will Return At..." Ann comes up to the door. Starts opening it with a key. JOE I, excuse me, the sign says you'll be back at two. It's quarter to three... She looks at the sign, changes the hand to read a quarter to three. She opens the door. Goes inside. He follows. Camera follows. INT. BOOKSTORE - DAY. Old Bookstore and stationary store. Several old typewriters for sale. JOE (off the sign) You're doing a Play... ANN Local Drama Group. (she answers the phone) Northern Books. No, it hasn't come in yet. As soon as it does. Yup, you too Marge. She hangs up. JOE ...small town. I suppose. You have to make your own fun. ANN Everybody makes their own fun. (she answers another phone call) F'you don't make it yourself, it ain't fun, it's entertainment. She picks up half-knitted sweater off computer. ANN (CONT'D) (to phone while knitting) Northern Books. (to Joe) What can I do for you? JOE I need a typewritter. ANN We got em. (to phone) North...No, Henry James was the novelist, Frank James was a criminal... (to Joe, of the typewriter) Yep, you came to the right place. (to the phone) Jessie James was the Brother. (pause) Of the novelist, that's right. That's alright Susie. See you tomorrow, Susie. He has picked up a typewriter, old, manual. JOE I want to rent this one. ANN Why don't you buy it, only forty bucks. JOE I have one, but they lost it. ANN Who? JOE The people in New Hampshire. ANN (shrugs) That's why they have state borders... whyn't you get a replacement? JOE Well, it had sentimental value. ANN You buy the typewriter, I'll get it all spruced up, good as new. Better than new. It has some history. JOE Other one has history, too. I wrote my play on it. ANN You wrote a play on it, what play is that? JOE You haven't heard of it. ANN What's it called? JOE "Anguish." Little kids enter to get candy. As Joe speaks, he takes off his regular glasses and puts on his reading glasses and inserts a piece of paper into the typewriter and types, "Everyone makes their own fun--if you don't make it yourself, it's not fun, it's entertainment." ANN "Anguish" by Joseph Turner White...? He looks up. ANN (CONT'D) You're Joseph Turner White? He switches glasses to look at her. A very OLD WOMAN comes in, goes back to the coffee machine. MAUDE (OLD WOMAN) Afternoon Ann. Ann takes down a book from a shelf. ANN Maude, this man wrote this play! MAUDE That a fact. Now, is it a good play? ANN Yes, Maude, it is. It is a very good play. MAUDE Well, then, what's he doing here? ANN What're you doing here...? JOE Writing the movie. MAUDE You're writing the movie... JOE Yes. MAUDE What's it about? JOE It's about the quest for purity. INT. WALT'S ROOM - DAY. Walt, Bob Barrenger and the SCRIPT SUPERVISOR are savaging the script. BOB ...because he wouldn't say that. Look: (flips through the script, reads) "Sister, I've just come from a fire. There's some things I want to think out..." Now, come on, come on... "Leave me alone." A gesture...? Alright? Walt opens a case and extracts his lucky pillow which is embroidered "Shoot first. Ask questions afterward." WALT What else? BOB Page...three. Now: "It's a nice evening." (beat) I'm not gonna say that... "It's a nice..." Knock on door. WALT Come in. Joe enters. WALT (CONT'D) Hey, Joe...Good. You know B... JOE I grew up on your mov... BOB Do you mind if we don't go through the usual bullshit about How I Loved It? Knock on the door. Carla enters with another brown bag. BOB (CONT'D) I mean, okay, fine, but it's a motion Picture. WALT Thanks, honey, but, next time, bring two, save yourself a trip. BOB The people came to see a motion Picture. (to Carla, who starts to leave) ...hold on... WALT He's saying, what are you saying, Bobby? BOB Tell it with... WALT Tell it with pictures. BOB Tell it with pictures. What I'm saying... WALT We've got three days to... As Bob talks, he exchanges glances with Carla. BOB You look at: girl comes in the room, an apron, a brown bag, what is she...? She's a... WALT She's a... BOB She's a waitress. WALT What... BOB What I... WALT Hold on: what Bob is saying, you don't need... BOB You don't need "Hi I've just come from the restaurant." WALT (to Carla) You can go... BOB Alright. Let's... (he takes out a list, Carla exits) Page five, the fucking horse dies. (of Carla) You know, she could be in the movie, she could, she's got a good face, she could be the Doctor's...uh, why does it have to be his, uh, wife...? It could be his... WALT Bob, Bob, stick to the business, will you? BOB No, you're absolutely r... WALT And you go start with that stuff in this town... BOB Everybody needs a hobby. Okay, look Page... Knock at door. CLAIRE WELLESLEY enters, the female star. Very sexual. Very serious. Around thirty. She looks in. WALT (rising) Claire, when did you... CLAIRE I just... WALT Claire, Bob Bar... BOB I saw Desert Sun, I wanna tell you... CLAIRE No, I was, I was, I was just learning on, it's a... BOB How'd you like working with Richard Hill? CLAIRE I loved it...he... BOB Isn't he... CLAIRE It's... WALT We're just talking about the... CLAIRE Don't let me dis...I'll just... WALT No, no...Please. BOB I'm looking at Page Five: "It's..." JOE "It's a nice evening"... WALT This is Joe White. CLAIRE How can I thank you? How can I repay you for this part? It's a...what a, thank you for this part. The first scene at the Old Mill... Pause. WALT Joe's been having some thoughts about the Old Mill Scene, Claire. Pause. CLAIRE What, what's there to think about? (pause) The scene's perfect...I, I get to say... WALT Yes, but, Joe, Joe's been, well, he's just been having a few, uh, "Thoughts," about... CLAIRE How many times in your life do you get a speech like that? WALT Yeah. CLAIRE This scene is why I'm doing the movie. "Look at the mill, Frank -- look at the way it goes around...half of the time the darned wheel's under water, but..." WALT Yes, yes, but... CLAIRE "...but still it rises up...It rises up, Frank, high as it can go." WALT Yeah. Joe? Would you, uh, tell Claire the, uh, the "thoughts" you've been... Pause. EXT. STATE AND MAIN - DAY. ANGLE On Ann, who is putting up posters of the play. She sighs and walks forward, into Joe, who is waiting at the traffic light, his bag on the ground beside him. ANN (of typewriter) All ready to go! He nods. Looks down at her posterior. JOE So young, so unlined, so full of promise. (pause) So innocent. ANN I beg your pardon? He extracts the book of his she had in her back pocket. He looks at his photo on the back cover. They start to cross the street. JOE I quit. ANN You quit. JOE I quit the movie. ANN Why did you quit? JOE Actually, I'm not sure if I quit. I think that I got fired. I'm such a liar. I never could tell the truth. ANN Don't be so hard on yourself. JOE I just got kicked off my first movie. ANN Well. Everybody has reversals. If you were never down how would you know when you were up? JOE That's good. That's really good. You have a gift for words. ANN It's in your play. She holds up "Anguish." JOE You like my play. ANN Yes. JOE Why? ANN It's about life. JOE Could you tell me when's the next train? ANN N'about ten minutes. What was your movie about? They stop by the park bench. Pause. ANN (CONT'D) No, of course, you don't want to talk about it. JOE (hands her the script) It's about a man who gets a second chance. The cop, Cal, passes. CAL Evening, Annie. ANN Evening, Cal. (to Joe) Would you tell me about it? JOE I... ANN No, of course, you want to get out of town. JOE It's... He starts to walk, she puts the typewriter down on the ground. Joe hesitates. He puts the script under the typewriter. Pause. He shakes his head. ANN It's okay... They walk on. EXT. SPORTING GOODS STORE - DAY. The OWNER is closing up. OWNER Evening, Annie. See you at rehearsal. ANN You know your line? OWNER "Rise, one need not bend the knee before the throne of justice." ANN Go you Huskies. He walks away. JOE (of the clothing on the rack) They leave it out all night? He tries on a jacket. One sleeve is one foot shorter than the other. ANN Not worth stealing. Only thing in town worth something, stained glass window. She gestures at the Firehouse. JOE Ever wonder why the dalmation's the symbol of the firehouse? ANN First organized fire department was on the border of Dalmatia and Sardinia in the year 642. JOE But why the dalmation? ANN It was either that, or a sardine. He nods. Beat. He looks down at the jacket with one sleeve too short. ANN (CONT'D) You get what you pay for. JOE That's true. You grow up here? ANN Central High, 'n' matinees, the Bijou Theatre. They walk past the firehouse. She gives a dog biscuit to the firedog who runs out of the firehouse to her. JOE Nice town. Beat. He gets a bit choked up. ANN You want to talk about it? Joe shakes his head. They walk off. EXT. RAILROAD CROSSING - DAY. JOE ...that...that he prayed for a second chance. But...do you see? ANN Yes. JOE That, he says, there are no second chances...that he's been presented what he prayed for...and: he's ruined it. ANN Yes... JOE But, but but but... ANN No, no, I see... JOE That: in an act of... ANN Yes... JOE Of mercy...off... ANN I understand... JOE ...that...he sees that... ANN As the Old Mill goes around... JOE Of course, of course that's what I'm saying. As the Old Mill goes around, he sees... ANN Of course. JOE ...that it has been vouchsafed to him. ANN That's that's that's that's beautiful... JOE And you're the only one who'll ever hear that speech. (pause) Just you. Beat. They stop and look at each other. Beat. A railroad crossing bar comes down behind them, as we hear the DINGING and realize we are at a railroad crossing. ANN Well. It was a pleasure meeting you. JOE And likewise. ANN Goodbye. JOE Goodbye. Pause. We see the train pass in the b.g. We hear the train whistling. It's way off. ANN (pause) Next train in'nt for two hours. They walk on away from the station. In the b.g. we see the stationmaster. He and Ann wave. They walk past the shingle for Doc Wilson. ANN (CONT'D) So that the Old Mill, the Old Mill represents...the wheel of fate is that too... JOE No, no. Of course, that's exactly what it represents... ANN That whole... They walk on together and find themselves on a residential street. EXT. ANN'S HOME - DUSK. They are walking. They stop in front of an old picketfence house with a porch swing. JOE The, the, the, the sanctity of everyday things... ANN Everyday things...yes. JOE For example, he's just come back from a fire and he...um... (he shakes his head) That's a fine house. You look at that, and you know, there's nice people that live there. ANN I live there. JOE Really. With the porch swing and everything... ANN Surest thing you know. Pause. JOE I don't mean to impose, but...do you think we might... ANN That's what the swing is there for... They walk onto the porch, and sit on the swing. JOE (to himself) ...that's what the swing is there for...thats its purpose, isn't it... ANN ...I always thought so... They swing back and forth. The swing creaks. JOE ...such a pleasant sound. ANN Mmm. JOE Cause, cause, it's...it's the simple things, that... ANN Yes... JOE ...that. Doug walks up. DOUG Waal, there you are, and Have I Got Some News for You... ANN Doug, this is Joe White, and this is, this, this is my fiance, Doug Mac... JOE Sa pleasure. DOUG Guess who is THIS CLOSE to a nomination to State Senate...which is this close to one step from Congress! ANN ...who...? JOE Well, I guess I'll...get down to the station. It was lovely meeting... ANN Mister White is... Doug, as he takes Ann toward the door. DOUG Nice meeting you...they were, let me tell you, they were a bit coy at first, I told them: Look: the people are tired, they're going to vote their pocketbook, yes, but... Joe walks off and exchanges glances with Ann, who lingers behind. She pushes the porch swing and exits. As it swings, Joe watches. INT. TRAIN STATION - NIGHT. Joe enters with his bag. He stands looking at the long poster reading: "Waterford, Home of the Huskies, Division Champions, 1971, 1972, 1974, 1975, 1976." Beat. Joe is looking at the banner, when the old stationmaster enters. JOE ...what happened in 1973? Beat. The stationmaster looks around, and leans in to Joe, confidentially. The door opens. It is Walt. The stationmaster retreats. Walt comes forward. WALT Don't run off. Don't run off, we need you. You know why? You're why we're here. Your script is why we're here... (of bag) Gimme that. Big deal. We fight a little bit? You show me a family that doesn't. But we got something special. What is it? We're here to make a movie. Can't use the Old Mill. Well, that happens. What you got to do, you find the essence-- what was it, that brought us here. It wasn't the building Joe, it was an idea. It was an essence--what is the essence of your story? Joe? Pause. JOE It's about a man who gets a second chance. WALT Then, you write that. And then this is our second chance. That's why we're here... Pause. JOE I want to make a good film. WALT I know you do. JOE And maybe it will be a better movie without the old mill, I... WALT Hey, it's with the Gods. We don't have the money, we have to write it out. The best or not. (shrugs) And that's a lesson. You get your typewriter yet...? JOE Um, no. Walt picks up cell phone, dials. Lights of train go by outside. Stationmaster enters and calls the train. WALT (into phone) Grace, get on the other phone, call that girl: well, call her, and have whatsername send up some nosh...what do you like to drink...? JOE I don't drink. WALT Did my matzohs come? Get some for everybody. (into phone) Thank you. (hangs up) Lemme tell you about my first movie... EXT. BOOKSTORE - DAY. The production assistant is stapling a casting notice for "The Old Mill" half over the notice of the amateur theatricals poster. Doug shows up, looks in the window. Looks at poster, takes it down, looks around. ANGLE The park bench. Ann, her feet up on the old typewriter, is sitting, reading the script. Doug comes up. DOUG What, what what are you doing here? ANN Yes, that's right. DOUG Look at this. Do you know what they're offering? Look at this. They treat us like we're their backyard. Do you know what they're offering for three days to close down Main Street? ANN What are they offering? DOUG Ten thousand dollars. ANN That's so beautiful... DOUG I beg your pardon? Ann gestures at the script. ANN "The mill grinds the grain, but the grain is not destroyed. Although it is altered..." DOUG Sure, but...ten thousand dollars. Do you know what they...this movie is budgeted at fifty million dol...they're coming up here, offer us a measl... INT. MAYOR'S HOME - DAY. The Mayor's Wife comes into the room. Her hands are full of lists, giving instructions to a handyman. SHERRY (MAYOR'S WIFE) The chairs go, the Lazyboy goes... MAYOR ...not the Lazyboy... Cal, the policeman, enters, carrying an old spinning wheel. CAL Hi, Sherry... SHERRY ...put it in the living room...and we have thirteen at table. MAYOR ...we don't have thirteen at table... SHERRY Bob Barrenger, Claire Wellesley, the director... MAYOR Waal, then, invite someone else, then... SHERRY I don't want to invite someone else, because this is the most exclusive... MAYOR Waal, then, you know, you do whatever would make you happy. Sher. This is your party, and whatever... Doug enters. Cal exits carrying a pinball machine. CAL Hi Doug. DOUG Cal. I want a city council meeting. MAYOR ...little woman has gone crazy about our dinner party...City Council...? What's the trouble...? DOUG Main Street. MAYOR (sighs) Doug, the traffic light... DOUG Fuck the traffic light. I'm talking about three percent of the adjusted gross of a Major Motion Picture... EXT. PARK - DAY. Joe walks up. Ann is standing there. JOE Hi. ANN (simultaneously) What are you doing? (pause) I love your script. JOE (simultaneously) They decided, I decided to, to...You love what? ANN You're still here. JOE I...I decided to give it another chhh... ANN I love your script. Pause. JOE What? POSTMAN (as he delivers mail to her) Mornin', Annie... ANN See you at rehearsal tonight? POSTMAN "In the name of justice, Sir, I bid you pause; for she is our Queen..." Postman exits. JOE In fact, in fact, in fact, I'm not sure if I'm giving them a second chance, or they're giving it to me. That's the truth. The truth's best, don't you think? ANN You'd know better'n me. JOE How can you say that? ANN It's in your script...it's about getting a second chance. Innit? "You can go back..." JOE I can? ANN You bet your life. (refers to script) "The mill wheel goes around...some times it's even under water -- then it rises up, as high as it can go..." JOE But how do I...how do I do a film called "The Old Mill," when I don't have an old mill? ANN Well, first, you got to change the title... INT. PRODUCTION OFFICE - DAY. Sign reads "three days till shoot." Walt is on the phone. Covers the phone. Crossed sticks on the wall, Walt plays with a shuffleboard discus. Girl P.A. brings cup of coffee to Walt. Her T-shirt reads, "Does it have to be an old mill...?" WALT (to A.D.) No, he doesn't want to work out with the Waterford Huskies...Because he's Bob Barrenger...Call up his girl in Aspen, have em ship his weight...Yeah, well, fine, he's not gonna do the Pond scene, unless he can work out. Call up his girl in Aspen, and have her ship the weights out... Walt hangs up the phone. Secretary enters with folders that she hands to Walt. WALT (CONT'D) Who designed these costumes? Who designed these costumes? It looks like Edith Head puked and that puke designed these costumes. Get Madge. SECRETARY (to A.D.) Your wife is on the phone. WALT I have no wife. A P.A. comes in with a big bakery box. They open it to show it is a huge loaf of bread, and on it is written, in bread, "Waterford Welcomes The Old Mill." WALT (CONT'D) (calling out) We need a new name for the movie. Where's the writer? UBERTO (entering with storyboards) Wally, I got to takes out that window from the dog. I can't shoot through... Camera moves on past the production board, where we see "Dinner with the Mayor" in red. And the costume designer comes up. COSTUME DESIGNER ...Claire's got a problem. UBERTO Wally, if I hafes a moment of your time...look at these storyboards. THIS SHOT, I can't shoot this shot, you want. WALT Why? UBERTO Because they gots a window with a dogs in it. You want me to "push in." Or I can lose the shot. WALT No you can't lose the shot. The meaning of the film is in that shot. UBERTO But, Wally, the window of the firehut... WALT I don't care. Fix it. He goes into comfab with the costume designer. WALT (CONT'D) (of sketches) You show Claire these sketches? COSTUME DESIGNER Yes. WALT Did she throw up? COSTUME DESIGNER That isn't very nice. WALT Oh, really, then why don't you sue me in the World Court. Did she like the costumes? COSTUME DESIGNER I can't tell. WALT Why not? COSTUME DESIGNER She won't stop crying... WALT (to an A.D.) Find out when Marty Rossen's arriving, get him a bunch of lilacs to send to the broad. FIRST A.D. Town's out of lilacs. WALT You go in her room, take the lilacs from the water, dry them. Go buy some cellophane, wrap em up, and get a card from Marty. (to costume designer) What's her problem? COSTUME DESIGNER She doesn't want to Bare Her Breasts. WALT She Doesn't Want to Bare Her Breasts...what, in the "Nude Scene...?" What are we paying her three mil? COSTUME DESIGNER -- she's got 'religion.' WALT Her religion bars her from fulfilling her contr... CAMERA follows Walt to the sound of crying. We hear crying from the next room. Walt opens the door quietly. WALT (CONT'D) Claire...? Claire...? (to Uberto) Just figure out how to take the shot. Claire...Claire...? It's Wally. (pause) May I come in...? Beat. He motions his entourage to stand back. INT. PROD. OFC. - WASH ROOM - DAY. He enters the room. Camera follows. WALT (softly) What is it, Pal...? Pause. Claire mumbles. WALT (CONT'D) What...? CLAIRE I can't do it, Walt. WALT You can't do what? CLAIRE It isn't right. I can't...I...I know I si...I, they, I don't know if they told me it was in the con... WALT Forget the contract. Claire. What is it? CLAIRE I don't want to take my shirt off in that con...What are these things that they're asking of me...? Wha...wha...wha... I try to be good; the only thing I care about is... WALT I know that... CLAIRE Is...Is the Movie! As they talk, the A.D.'s come in and hand him sheets to approve. WALT I know that, Claire. I, we all know... CLAIRE Everybody, they, they, they treat me like a... WALT ...no, they don't... CLAIRE ...they treat me like a child. I, I...to bare my body. WALT Now, look. Claire: Listen to me. (he takes her hand in his) I want to tell you a story. The door to her room opens. A P.A. brings in a bunch of lilacs, hands them to Walt. WALT (CONT'D) Fuck flowers, we aren't talking about flowers, we're talking about a human being. CLAIRE I...I... WALT Who are these from? PROD. ASST. Marty. WALT Well that's very thoughtful of him. Elanora Duse... CLAIRE ...I can't do it, Wally... WALT Listen to me: Elanora Duse was playing Hamlet in London in 1905, and Royalty could not get a ticket. She said, "I'm not doing the seven shows a week I signed for." She said, "I cannot bare my soul seven times a week. I am an artist. I'll do four shows a week." (pause) The greatest actress of her time. You know what her Producer said? CLAIRE (pause, softly) What? WALT Nothing. He held her and he wept. Because he... CLAIRE ...I... WALT Because he understood. That was her life's blood on the stage. Claire nods, breaks into sobs. WALT (CONT'D) ...I know...I know... CLAIRE (pause) ...and, and, and did she...? And she did the seven shows... WALT No, she didn't Claire. But I think you should do the scene. Secretary comes in with memos and Walt deals with them, while comforting Claire. Beat. She sobs. She shakes her head. She brings herself under control. CLAIRE Wally... WALT I know, I know. He puts his arm around her, starts walking toward the door. WALT (CONT'D) I know, it's the hardest thing in the world, and it seems everybody wants... CLAIRE ...yes... WALT ...wants a piece... CLAIRE Yes. WALT And you know what...? CLAIRE We, we have to give it. WALT (nods) ...and my heart goes out to you, because I know... INT. PROD. OFC. - BACK ROOM - DAY. He opens the door. We hear the First A.D. and the Costume Designer chatting outside the door as they walk out. WALT That, that's your life's blood on the st... FIRST A.D. I don't know what she's bitching about, she's flashed her tits in the last five movies...she'd bare her breasts to do a voice over. Camera follows the two out. A tableau of the four of them. The First A.D. drinking coffee, sees he has been overheard. Beat. Claire starts soundlessly heaving, sobbing. She goes "Oh!" as if she has just been hit in the stomach, falls back into the room, closes the door. Sobbing sounds emanate. FIRST A.D. (CONT'D) I... WALT Get Mitch Cohn on the phone in New York, tell him she's breaking her contract and we're very up... FIRST A.D. I... WALT We're very upset with her. Get someone to double for her, her tits, the tits scene, call L.A. I want to see some pictures of the women's tits. Of their tits. FIRST A.D. I'm very sorry I... WALT You're very sorry, you passive aggressive, son-of-a-bitch...can we replace him? BILL We start shooting in three days. COSTUME DESIGNER You want to see the fireman's costumes?...Cause I found this Moleskin for the collar, it's not black, but it looks black...It's not brown, but... SECRETARY Marty Rossen's touched down. EXT. PARK BENCH - DAY. Ann and Joe sit on a bench. He is looking at her as she finishes the script. Tears in her eyes. She closes the cover. JOE (beat) What I need to say... ANN Yes... JOE About conflict... ANN That's why you didn't want to take the Mill out...you've... JOE ...the, the, the symbol of the fire... ANN The Firehouse... JOE I... ANN But but but but but it's better without... JOE How...? ANN Wait wait wait wait wait he gets a second chance, do you see? And you get a second chance! JOE No, I don't... ANN (as she holds the script) He doesn't go back to the mill, he gets a second chance to go back to the firehouse... Joe takes off one pair of glasses and changes them for another. ANN (CONT'D) You don't need the Mill. This is what... (she gestures at the script) You see: this is what you are. This is what the script is saying... (a person walks by) Hi Emma, see you tonight? Emma waves and nods. ANN (CONT'D) This is, look: (to Emma) Go you Huskies. (to Joe) ...what I see you saying, is: you have the two elements, Fire and Water. The Firehouse, and the Old Mill...Do you know, you could... JOE What are you doing tonight? ANN Me? JOE Yes. Joe and Ann walk down the street. As they do so they are passed by the airport van. ANN Tonight, tonight, I...I have play practice... JOE ...oh...oh. Well. That's very important. EXT. HOTEL STEPS - DAY. Walt and the A.D. come down the steps to meet the arriving airport van. It stops. MARTY ROSSEN gets out. Walt hands his bags to a P.A. WALT Marteleh, vos macht a yid...? He hands Marty the breadloaf. Marty takes a bite. MARTY You cool the broad out? WALT I left that for you. MARTY That's thoughtful. (of the bread) Ziz good, you try this? As they speak a P.A. is unloading Marty's high-end luggage from the van. WALT Oh yeah, I'm really gonna eat carbohydrates... MARTY (of the town) What'd you do, build this...? WALT How was your flight? MARTY We're flying over pigs, we're flying over sheep... WALT Did you bring Bob's weights? MARTY They're coming Fedex... WALT (of the bags) What's in all the bags? MARTY My undies, cause, you can't get this picture off on time I'm gonna' wet myself. WALT I'm gonna' bring it off. MARTY 55 days and I take home the camera. I got an idea for a product placement... They start up the stairs when Doc Wilson walks by. Girl on a scooter scooting the other way, her arm in a cast. Marty and Walt turn back to watch on the steps, under the awning. Carla walks through carrying food bags. DOC WILSON Hiya Sally... GIRL ON SCOOTER Hiya Doc... DOC WILSON How's the arm? GIRL ON SCOOTER Still itchin'. DOC WILSON Good! A sign it's getting well. MARTY (of scene) Stop... WALT That's what I said. MARTY How are you getting on with these fine people? WALT Like dykes and dogs. INT. BOB'S ROOM - DAY. Bob is doing Tai Chi. Knock on the door. He goes to it, opens it. Carla is bringing him his dinner. BOB Yeah. Come in. She comes in. BOB (CONT'D) I'm just... She puts his dinner down on the coffee table. He takes out money from his pants to pay her. CARLA The prices are going up. BOB But, that's the way of the world, huh? Everybody's gotta eat. Way of the world. He sits before his dinner, hands her some money. Remembers himself. BOB (CONT'D) Well, I'm pretty impolite. Would you like some? CARLA I don't eat vegetables. BOB Well, I can offer you something to drink? CARLA Sure, what have you got? BOB What do you drink? CARLA Bourbon and Milk. BOB How old are you? CARLA (whispers to him) He makes her a drink out of his fridge, hands it to her. BOB Then I hope you wouldn't tell anyone that I gave you this. CARLA I wouldn't tell anyone anything that happened between me and somebody who was my friend. Pause. BOB Nice town that you've got here. CARLA You want to see it better, we could go out on the roof. BOB ...wouldn't that be dangerous? CARLA ...not if you've got something to hold on to. EXT. MAIN STREET - DUSK. Joe is walking down the street. A script in his hand, scribbling. Uberto walks next to him. UBERTO Because if you cannot tells me what is it, how I, how does I take a pictures of it? Wally wants me, push in through the weendow... Joe, as he is scribbling in the script. JOE Yeah, no, can I...if you'd excuse me, I've just got to... He walks away and the CAMERA takes him into a backyard, by a bunch of clotheslines. His glasses fall apart as he changes them. He looks up as the wind blows the sheet. He sees Ann, sitting on the backstairs of what, as we draw closer, we see is the playhouse. In back of her we see the "Trials of the Heart" flats, seen from the back. ANGLE, his POV ANN Hello. JOE I thought you had Play Practice. ANN Don't look good for "Trial of the Heart." JOE Well, then, it don't look good for the Huskies... ANN That's for sure. They walk down the street. As they walk down the street, the dog comes over and Annie throws him his bone over her shoulder. JOE What happened? ANN Cast stood me up. JOE Uh huh. ANN They're all preparing for the auditions - your movie. He gets an idea, and trades glasses, one pair for the other. He kneels. ANN (CONT'D) "Rise, one need not bend the knee before the throne of justice." JOE What? ANN What are you doing down there? JOE My glasses fell apart. I lost the... ANN ...lost the screw... JOE You got a paperclip? A little kid is walking by, carrying a fishing rod. LITTLE KID Evening, Annie. ANN Evenin', sweetheart. LITTLE KID Go you Huskies. ANN You said it. JOE You like kids? ANN Never saw the point of 'em. JOE Me, too. You have a paperclip? ANN Paperclip? JOE Fix my glasses. ANN Better idea... She ducks under the sheet hanging by the door, she and Joe come upon the fishergirl, who is standing by the bank about to make a cast. We see Annie take some leader from the little girl and burn one end to make a hinge. JOE Gonna' be good as new. ANN Better'n new, cause it's got a story. Want to do the other part? Joe takes the hinge, and a match and tries to fix the hinge, and burns his finger. JOE Ow. He grabs for the nearest object. Pause. ANN What? Joe shows her. ANN (CONT'D) Y'know what you got there? You got a fishhook in your finger. EXT. BOOKSTORE - DUSK. Doug standing, holding a bunch of flowers. The A.D. walks by. Looks in the window. FIRST A.D. I'm looking for the writer. DOUG What the hell are you so down about? FIRST A.D. (pause) My wife's going to have a baby. DOUG How about that. FIRST A.D. Mmmm. (pause) You have children? DOUG No. (pause) No, but we're planning to. FIRST A.D. (pause) Could you tell me where a fellow goes to get a drink in this town? DOUG Yes. INT. WALT'S HOTEL ROOM - NIGHT. Marty and Walt et al. studying various documents. Claire sitting there. MARTY I want to tell you something, Wally, he's a pussycat. My thing is to see everybody does what they said they would and I have to do that. Now: what is this you want Eight Hundred Thousand Dollars to do what you're being paid to, you already signed you'd do...? (pause) What is that? CLAIRE I think I should talk to my agent, Marty, you and I should, we should, really not discuss... MARTY Who is her agent...? BILL Mitch Cohn... CLAIRE He's... MARTY Get him on the phone. CLAIRE He's on the Island, he'll be back on... MARTY Get him on the... Claire starts back to her room. MARTY (CONT'D) I want you to hear this. CLAIRE I really think that business...matters should be discussed between you t... MARTY Well, I'm going to discuss 'em between you babe, cause it's your idea, and you think you're going to sign to do a, then hold us up in the wilds sweetheart, you are in error... Bill hands him the phone. BILL He's on the ph... MARTY (takes phone) Mitch, th'Marty Rossen, I'm here in... BILL Wat... MARTY I'm somewhere in the, I'm on location, eh: This...well I'm going to solve it here, or this Bimbo you sent me's going to be doing a fuckin' donkey act in Akron, I'm talking about Restraint of Trade, Breach of...IT'S VERY SIMPLE...! Joe enters. His finger bandaged. JOE (tentatively) Hi! MARTY Her tits! Her tits! How, that she signed IN HER CONTRACT, we hired her 'cause of ten years at the Actors Studio? The way she played Medea?...Her last two pictures laid there on the screen like my first wife... CLAIRE (starts to cry) You have no right to... MARTY Cool it, Babe, you started this... JOE What's the... WALT Where have you been...? MARTY You tell me: you tell me now, I've got to shoot on Wednesday and I will not pay your Blood Money and P.S., pal, I put the word out on the street and Betty Boop can look for work in squigglevision... Claire starts to get up. MARTY (CONT'D) Siddown! JOE I really don't think you should be talking this way to a lady. MARTY ...would you excuse me, please... CLAIRE You can't treat me like this. I'm not a child! JOE She's absolutely r... CLAIRE I'm not a child... I have feelings... Don't you...don't, don't...don't... Claire exits crying. MARTY (his suitcase next to him -- into phone) Well, you call him, and call me back, but this is it, pal, you fuck with me, and I'm going to tear out your heart and piss on your lungs through the hole in your chest. And the best to Marion... (beat, hangs up, to Joe) Where have you been? JOE I... MARTY He says they're looking for you all day, you're on salary, he needs pages, what are you, you been 'haying?' Now: WALT Marty... MARTY Later for that, Walt, let's get this: we need the "pages" for the new "Old Mill"...alright? We need a new title, we need a... BILL Rewrites that Bob Barrenger requested... the "dead horse scene," the... MARTY Whatever it is. GO do it. How you doing on the permit? WALT It's just a formality. MARTY That's why I want it. (to Joe) Type it up and get it back to me in... JOE I can't. WALT Why? MARTY You can't write it? JOE I can write it. I can't type it. WALT Why? JOE I hurt my finger. WALT Get a typist. Gettim a typist. Get outta here. Joe exits. They turn to survey the board. MARTY Eight hundred grand to show her tits... WALT Pay her. MARTY I don't got the money. WALT Find the money. MARTY I got a company...give us a million dollars, put their product in the film. WALT (looking at a paper Marty hands him) No no no no no no no no no find me the money... INT. JOE'S ROOM - NIGHT. Joe takes out paper, looks around. Sighs. Picks up phone, calls back. JOE (into phone) This is Joe White...in six ten, they're sending up a typist? He takes out a sheet of foolscap and a pencil, starts to write. A knock at the door. JOE (CONT'D) (into phone) Okay, I, thank you. It's here. He hangs up the phone. Goes to the door, opens it. It is Claire. CLAIRE You said, "You can't talk that way to a lady...", you stood up for me. (beat) What do you have to drink? She looks around. Sees a gift basket containing a bottle of Stolichnaya and a box of matzoh, wrapped with a "Welcome Back" ribbon. CLAIRE (CONT'D) Matzoh! Are you Jewish? JOE I, actually yes. CLAIRE I love Jewish men. JOE Why? CLAIRE You know...Where's your bathroom? She goes into the bathroom. JOE You liked the script, huh...? EXT. MAIN STREET - NIGHT. Ann Black sitting on the park bench, holding the lure. DOUG (still carrying bouquet of flowers) Where have you been? He gives her the bouquet. ANN Hi! DOUG We had a date. ANN We did...? DOUG Where have you been... ANN I've been thinking. DOUG Where have you been, we had a date for three...where have you been...? ANN I have to tell you something... DOUG Well, I know, because they told me you were with that writer from the, you see, this is what I mean, the whole town has been warped by the, by, by the presence of the movie company, they holler, and we jump, you have a date, they call, you're doing business nine o'clock at night. It isn't... ANN I wasn't doing business. DOUG Oh. What were you doing, then, that's so important that you shouldn't call your fian... ANN It's all over between us, Doug, I'm sorry, but that's the truth. I've found someone else, and, it's very serious and it's the end. I'm sorry. (pause) It isn't you, j... DOUG Wai...It's so serious you couldn't call to tell me you'd be...what...? What did you say...? ANN It's all over between us. (pause) I've found someone else. DOUG (pause) Let me review here: You're...what are you...you've...it's all over between us? ANN I'm sorry. DOUG Who is this person that you've found? ANN (pause) He works on the movie. DOUG No. Don't tell me that. ANN I'm sorry. DOUG Why, you whore! Doug starts to cry. First A.D. shows up. FIRST A.D. Can you type? ANN Never admit you can type. FIRST A.D. If you can type, they need you over at the hotel. INT. JOE'S HOTEL ROOM - NIGHT. Joe is standing by the side of the bed, holding Claire's clothes, trying to induce her to put them on. She is sitting on the side of the bed, naked. JOE Look. CLAIRE I feel so close to you... JOE Look, look, I like you very much... CLAIRE I like you, too. JOE But not that way... CLAIRE But we... JOE Look, look there's someone else... Sound of a knock on the door. JOE (CONT'D) Great. Who is it...? ANN (O.S.) "Room Service!" JOE (to Claire) Would you go in... He gestures to the bathroom, he hands her her clothes. JOE (CONT'D) Would you put on your cl... (to door) Just leave it outside. ANN You have to sign for it. INT. HALL - NIGHT. Ann hurriedly arranging the flowers in the "platen" of the typewriter. From inside the room we hear Joe's voice: "Alright, One Moment!" He opens the door. ANN I'm gonna be your typist for this evening. JOE Oh, God... ANN And here's some hydrogen peroxide. JOE I don't drink. ANN It's for your finger. JOE One moment. He closes the door. INT. JOE'S ROOM - NIGHT. Claire is still sitting on the bed, has a lit cigarette. Poured herself a drink. Joe goes over to her, thrusts her clothes onto her. JOE You have to hide. CLAIRE Who is that...? JOE That's my... CLAIRE Oh. JOE Will you help me out...? CLAIRE I... Joe hustles back to the door. Opens the door. Ann is still standing there with the typewriter. JOE Hi. ANN You going to ask me in? Joe looks back over his shoulder. ANN (CONT'D) Thought you might like this. She hands him a bouquet. JOE (he takes the flowers) Thank you. ANN Read the card. JOE (reading card) "To the love of my life, Love, Doug"? ANN The other side. JOE Oh. He turns the card over. ANN Don't you think you should put them in water? JOE Why? ANN ...because if you don't, they die... She goes into the bathroom, fills up the vase. Comes out. ANN (CONT'D) Shouldn't we start? Pause. JOE Start? This isn't a good time. ANN Oh. That's alright. Then I'll come back at a better time. What would be a better time? JOE Later on. ANN Then I'll come back, then. JOE You, um, you, um, you going out with your fiance? ANN No, I just broke up with him. I'll see you tomorrow. She starts to exit. INT. TAVERN INN HALLWAY - NIGHT. Ann digs in pocket, takes out the lure we previously saw in Joe's finger. She reenters the room. ANN It occurred to me, you'd wanna have this: sort of a memento of our... ANGLE In the room. Claire is standing there, basically naked. Pause. CLAIRE Hi. I hope I'm not disturbing... JOE She came in here, wait, she...I was giving her a massage...wait...Wait! She came in here...she... (to Claire) ...with respect...she took off her clothes, and she got in bed, I told her I could not--we don't know each other, you see... CLAIRE ...we had a script conference... JOE I told her Thank You Very Much, but it was inconvenient because...uh... because... ANN You can do it. JOE Because I'd met someone else. ANN (very simply) Oh okay. JOE You believe that? ANN I do if you do. Pause. JOE But it's absurd. ANN So is our electoral process. But we still vote. JOE Do you truly believe the electoral process is absurd? ANN I used to go out with a politician. JOE You used to go out with him, you broke up with him? ANN Sure did. JOE Why? ANN Time for a change. Keep your margins straight. JOE Yes. ANN Go you Huskies! INT. HALL - NIGHT. Ann puts down the typewriter and types into it, "The truth may not always set you free, but it is always the truth-- Joseph Turner White, 'Anguish.'" She affixes the lure to it and leaves them on the typewriter. She starts down the hall, humming. Behind her we see the door to Bob Barrenger's room open. Bob comes out, looks down the hall. The coast is clear. Carla comes out. They kiss chastely, say goodnight. She starts down the hall, humming. EXT. MAYOR'S PORCH - DAY. The postman walks up. We see two workmen putting up a sign over the door '1835.' One has a copy of "The Hollywood Reporter" in his back pocket. MAYOR And don't you worry about that permit... MARTY Why, that's right fine... POSTMAN Mornin' George. MAYOR Hey Chunky. (to Marty) Well, we're glad to have you here. My wife...Sherry...SHER, YOUR BROTHER'S HERE! (to Marty) We're having a party, matofact, Tuesday night, for Walt and Bob Barrenger... MARTY Mmm.... MAYOR Havin' 'em over, homecooked meal, if you'd... MARTY Well, I'd be awfully... A paint truck pulls up outside the Mayor's house. Painters come out. Sherry comes outside the house. SHERRY Where the hell have you been...? It's... MAYOR Sherry, this... POSTMAN (come back out of house with cup of coffee) Mornin' Sherry. SHERRY It's a quarter after nine, I've been on the phone to... PAINTER Morning, Mrs. Baily, Mista Bailey... He and his assistant go into the house with wallpaper. SHERRY I've got two days to get this house... MAYOR Dear, this is Mr. Rossen, he is the producer... SHERRY I am so glad to meet you. We are so glad to have you here, and welcome you to our...I, you know, they had c...I'm, yearly I redecorate our, to restore it to the, 1835... MARTY What is that...? SHERRY ...the house, the 1835. The original kitchen, of course, burned in 1960, as part of a spate of fires... MARTY It's lovely. SHERRY A spate of suspicious fires which were in fact the inspiration for the formation of the Waterford Huskies... MARTY My oh my. SHERRY I'm...Tuesday evening we're having an informal dinner, I didn't know you'd be 'on set,' but if you'd like to join your... Doug comes up the walk. A bit rabid. DOUG I have to talk to you. MAYOR Doug, this is Mr... SHERRY Oh, how thoughtless of me. Would you like a cup of tea... Sherry disappears into the house. MAYOR ...he's the producer of the movie. DOUG (to Marty) I want you to hear this, pal... (consults notebook) Forget the overages, forget Ten Thousand Dollars for three days to two weeks. You know what it would cost for them to build this set? (pause) Two Million Dollars! Now: MAYOR Doug... DOUG Now: the Waterford Merchant's Association, of who I am Council... In the B.G. we see Sherry and the painter. SHERRY Don't tell me you're out of Wallpaper. PAINTER I told you, we could have it by Wednesday... SHERRY Wednesday, don't tell me Wednesday, the biggest grossing box office star in the world is coming for dinner Tuesday... PAINTER Waal, if you ordered something common... SHERRY Something common? I'm going to give you something common, I'm going to give you an injunction, is what I...Mister Mayor... DOUG Huh. Well, the Waterford Merchant's Association demands, through me as their council, five percent of the profits of the movie, as figured by and... (checks his notebook) Geared to the most favorable definition of profits of either A) the Producer... From inside the house, we hear the Mayor's wife screaming. Mayor runs inside, Doug and Marty follow. DOUG (CONT'D) Why, you little sheeny... INT. COFFEECORNER - DAY. Geezers are at the front table in the window. Carla's father Jack, behind the counter trying to assemble an espresso machine, reading from the instructions. MORRIS "Assembly of Death" did 95 million dollars the first weekend. SPUD Yeaup, but those grosses are inflated. MORRIS You think so? SPUD Waal, what was the per-screen average...? Joe enters and exchanges greetings with the locals. He changes his glasses and takes out a notebook. He is shaking his head as he does so... JOE Cuppa coffee, and a... JACK With you inna moment. I'm a little shorthanded... MORRIS Where's Carla...? Ann enters. SPUD Hiya, Annie... A crowd has gathered around the table as he tells the story. MORRIS Annie, sorry I ain't been to a meetin of the Drama Club... Ann shows a sniped "canceled" poster of her play. MORRIS (CONT'D) Oh, good... He resumes talking to his companion. ANN Good morning to you...whatsa matter? JOE I can't get it to come out right. ANN What's the scene... JOE It used to be the Old Mill. ANN What've you got? JOE They meet on Main Street. Her horse has just died. He's coming from the fire. He shuffles through his pages, he goes in his pocket for a note, he brings out the old lure. He smiles at her, she smiles back. JACK (O.S.) Annie, you want something to eat...? ANN What's the scene about...? JOE It's good to see you, too... JACK Annie? ANN What about...what about...it's so presumptuous of me, to be, to be telling you how to wr... JOE Please... ANN How about, he sees her on the street, he wipes the soot from his eyes. He goes up to her. "What happened to the horse?" She looks at him. She takes his hand... She takes Joe's hand, and he winces. JOE Ah. Ah. Ah... ANN I hurt you? MORRIS What happened to his finger? ANN It was burnt. MORRIS Mmm. ANN And then it was really hurt. JOE Ah. Ah. Ah. That's what she says, that's what she says. He says, "Sister, I've come from a fire..." But she, but she, she says it was not the fire which hurt you...it... MORRIS ...how was it hurt? ANN ...he stuck a fishhook in it. (Morris nods) JOE She realizes -- it was not the fire which hurt him...that the true hurt was her. Was her... ANN ...yes. JOE ...her unbridled sexuality. That he... ANN ...yes. JOE Has been wounded by her heat...by her infidelities... JACK Anybody here seen Carla? JOE Because, because, because if it's about purity...it's...it's...and then, then, you don't need the nude scene. ANN Because it's about purity... JOE That's...that's exactly what it's about. Take... ANN That's right... JOE ...take any two people... JACK ...anybody seen my daughter...? JOE ...take you and me... He runs out. INT. PRODUCTION OFFICE - DAY. Uberto looking at storyboards and spinning the discuss and shaking his head. Walt on the phone. First A.D. shows up. WALT (on phone) ...the finest people you could ever hope to work with... (to First A.D.) You have the new Old Mill pages? FIRST A.D. I can't find the writer. WALT (on phone) ...totally false...totally false. He is the, I would say the most responsible human being I have ever... FIRST A.D. I have to talk to you. My wife... WALT Not now. FIRST A.D. My wife is going to have a baby, and... WALT Oh, that's great. Let's bring more people into this overcrowded world. Girl P.A. walks through the b.g. in "Does it have to be an old mill...?" t-shirt. WALT (CONT'D) Take it off. Take that stupid fucking shirt off right now. (into phone) Well, if I had to say one thing, I would say it's purity. Claire shows up, dressed in traveling clothes, her luggage behind her, followed by production assistant. WALT (CONT'D) (to P.A.) Not now, I'm talking to the press. Claire! CLAIRE What? I have a five-o'clock plane to catch. WALT I, uh... (into phone) I've always thought so... (beat) Well, you just get an idea, and try to find the best way to express it in pictorial form. (to Claire) I've written a letter to the studio and to SAG protesting... (opens door) Bill: get a copy of that letter...! (closes door) I just wanted to tell you that I am past chagrined, I'm mortified at the way you were spoken to... CLAIRE I... WALT An artist of your caliber... CLAIRE I'm only trying to... WALT I know what you are, I am so sorry that you...when I read that script I said there's only one person to play that part. CLAIRE The minute I read that script I said... WALT I know... CLAIRE ...she works with animals, she... WALT ...yes... CLAIRE ...she has a home... WALT ...I know, I'm so...because I said: yes, a woman who...the...the community respects her. (beat) Please don't go. (pause) Please don't go. What can I do but beseech you...? Trauma, toil...when are we free of them...? (pause) When...? CLAIRE He treated me as if I were a child... WALT Claire: (pause) As an interpretive artist to a creative artist: (pause) Stay with me. (pause) I need you. (pause) We start to shoot tomorrow and then it belongs to us. Stay. (pause) Stay. Tonight...when... (gestures outside) When they've gone. Let's talk. Let's really talk. We could, we'll have dinner, we'll...a bottle of some bad red wine, we'll get spaghetti, and we'll... CLAIRE I'm sorry Walt -- it's gone beyond that. Claire exits. WALT (into phone) Well, I've enjoyed it, too. Any... any...any time... (hangs up the phone) What does the woman want from life...? MARTY She wants eight hundred thousand dollars to show her tits. WALT Pay her off. MARTY We don't have the money. WALT Find it. MARTY If you do the product placement... WALT IT'S A COMPUTER COMANY...IT'S A COMPUTER COMPANY, BAZOOMER-COM? MARTY "Bazoomer dot com." WALT I CAN'T PUT A COMPUTER IN A MOVIE SHOT IN 1895...you wanna tell me how I'm gonna' do that? MARTY Actually, the art department had some ideas on... WALT NO NO NO NO NO, PAY HER OFF. DID YOU HEAR ME? MARTY (picks up the phone and dials) Gimme Howie Gold. Howie? Thizz...I neee...I NEED EIGHT HUNDRED GRAND. I...I don't care where it comes from... (to Walt) It comes out of our end. (Walt gestures do it) I...I need...JUST GET ME THE MONEY. I...JUST GET ME THE GODDAMN MONEY...Look: Joe barges in. JOE She doesn't show her tits!!! She doesn't show her tits. The breasts symbolize motherhood, the audience... MARTY The breasts symbolize motherhood... INT. WALT'S OFFICE - DAY. Joe holding forth to Bill, Walt, and Marty. Joe consults his notes, changes his glasses, reads on: JOE The movie's about purity. So we don't show her breasts. We show them to him, her back to the camera. WALT ...she keeps her back to the camera...? BILL It'll hurt the box office. JOE They know what her tits look like. WALT Know? They could draw them from memory. You're fantastic. What a find you are. Get outta here. We need the Dead Horse Scene. JOE I'm gonna nail it. WALT I know you are. Go you Huskies. Joe exits. We see the notation, "Dinner at the Mayor's House." We see Marty walk up to a P.A. in the next room. The P.A. hands Marty a slip of paper. Walt goes to them. MARTY We got the permit. WALT Is that one hell of a kid? MARTY He just saved us eight hundred thousand bucks. WALT He's got a gift for fiction. MARTY We got to do something nice for him. He takes out his cardcase. MARTY (CONT'D) Gimme a pencil. Get him a bottle of...get him some maple syrup. Stick this card on it, and put it in his room. PROD. ASST. Maple syrup? Marty writes on the card. MARTY Yeah. ANGLE INS THE CARD. It reads: "Your gift for fiction everything sweet." ANGLE ON WALT as he walks back into the other room, holding the permit. MARTY (CONT'D) (in b.g. as he takes back the card) Hold on, I wanna add to that. We see him take the card, write "Over" on it, and draw an arrow. EXT. MAIN STREET - NIGHT. Joe, happy as a clam, sauntering down the street. Smoking a huge cigar. He passes two old codgers, Morris and Spud. SPUD You see where Tom Miller's playin' the Old Farmer? MORRIS He's been playin' Old Farmer nigh on sixty years. SPUD I read for that part. Did pretty good too. MORRIS Bet you did. SPUD But I couldn't r'member all the words. Ast them would they gimme a second chance. MORRIS Ain't no second chances in life. SPUD Zat true? MORRIS Only second chance we git, z'ta make the same mistake twice... ANGLE On Joe, as he nods, to himself, takes out a pad, starts to jot a note, fumbles with his glasses. Joe saunters on, writing, we hear the beeping from the traffic light. Joe hears a screeching of tires. He looks up, a film station wagon comes barreling around the corner, hits the pothole, goes out of control, careens, turns over, knocks down the control box of the traffic light. Joe holds a beat, runs over to the car, to driver's side. Battered driver, bleeding, upside down. Joe drags him from the car. It is Bob Barrenger. BOB Get the... JOE Are you al...? Barrenger points to the other side. Joe looks. ANGLE POV Carla is the passenger, she is dazed but unhurt. ANGLE The car. BOB We gotta get her out of here... Carla has extracted herself from the wreck, stands, woozily, on the sidewalk. BOB (CONT'D) (to Carla) Are you all right...? CARLA (nodding) I... BOB You got to get out of here... Beat. She nods, understanding. A light comes on in the apartment over the store. She looks up, starts away down the street. Beat. Bob rocks back and forth. BOB (CONT'D) Oh God, oh God, oh God....do you have a cig... INT. BOB'S HOTEL ROOM - NIGHT. Bob is being bandaged by Doc Wilson. Marty on the phone. Walt, the First A.D. and Joe also in the room. MARTY He's fine...it's a... DOC WILSON You're going to be fine. I'll stop by tomorrow. WALT (to Doc) Thank you. Doc Wilson exits. DOC WILSON Yessir... MARTY (into phone) He's...you wanna talk to...? Bob goes over to the phone, his head bandaged. Walt, smoking, stands by the window. BOB (into phone) Hello, Jerry. I'm fine. I'll be ready Wednes...I'm here to make a movie, Bob. Now don't you worry your, hey, Pal, when have I ever let you down bef...Okay, Babe, you, too. He hangs up. WALT Are you Okay? BOB Well, yeah, I'm fine, I reached over to, the girl had to be home, I don't know, it's a schoolnight, something... WALT Bobby... BOB Everybody needs a hob... FIRST A.D. Walt, I wonder if I could take a minute of your time. I need a day off... There is an abrupt knocking at the door. WALT Who is it? CAL Thiz the police. Is Mr. Barrenger in there...? The boys in the room go into a whisper conference. MARTY Okay, look, you, what is she, 19, twenty...oh Christ... BOB Uh, look.... MARTY Look: Okay. Okay. Look: look you're driving, countryside, so on, you picked her up, she was hitch... WALT No, hey, hey...al, she hid in the back of the car! Happens all the... The knock is repeated. CAL (outside the door) Is Mr. Barrenger there...? MARTY No, wait a, wait a, wait a...we can't put her in the car, she gets it in her head to sue, or rape, or some goddam, she wasn't in... WALT She wasn't in...you were al... MARTY There's no witnesses... WALT No, just the...there's no witnesses, right...? BOB No, I...just...just Joe, just Joe... WALT Joe, the writer? BOB Just him and me. Knocking is repeated. MARTY Then she wasn't in the car. Say it. BOB She wasn't in the... MARTY Nobody knows it but us. Alright? It says here... (to group) Are we together on this? (beat, each nods) Because it's sink or swim here, pals... They murmur their assent. Knocking is repeated. Walt goes to the door. MARTY (CONT'D) (to First A.D. and Joe) You guys had better leave us a... CAL Mr. Barrenger. Marty ushers Joe and the First A.D. out the room. MARTY Yes...? The cop comes in the room. CAL I'm very sorry to... MARTY Well. What seems to be the...? CAL I have to ask you these...um. You have a valid drivers license...? MARTY Of course he... CAL Could I see it please...? Bob gestures to his wallet which is on the desk. CAL (CONT'D) Were you under the inf... BOB No. CAL And who was driving the... BOB I was alone in the car. I was driving. The cop is writing down these statements. CAL Well, now, Mr. Barrenger, I'm very sorry, in fact, I'm as sorry as I could be, but... MARTY I'm an attorney, if there's anything you have to say to... CAL ...I have to give you this ticket for damage to city property. I'm really sorry, Sir, it's a formality, I hope you'll excuse... MARTY (beat) You have to what? Cal reaches in back of him, on his belt, and takes out not the cuffs, but the summons book, he starts to write a summons. CAL It's a formality. Any case of damage to city prop...you hit the control box of the new stop light, and... (apologetically he hands the ticket to Bob) They'll, uh, these things happen, I hope you're alright, and that you're feeling... MARTY Well, Officer, don't worry ab... CAL If there's anything I... Marty walks him out into the hall. Photographers and Onlookers in the hall. Phone rings. Walt answers it. WALT (into phone) Yeah. Hello, Mr. Mayor...Walt Price! No, no, sir, he's fine. Well, he's right here! Would you like to...? (covering phone, to Bob) You are not to see that girl again...do you... Door to hall opens. Claire comes in. CLAIRE Hello. WALT (into phone) ...he's right here, Mr. Mayor... CLAIRE (to Bob) Bob are you alright...? EXT. FIRESTATION TO PRINTSHOP - NIGHT. The firetruck is being backed into the firestation. Outside a couple of passersby are running in the rain, putting their collars up. We see Joe is in the firestation writing in his book. As the firetruck backs up we see the firedog bark, and Joe looks up. ANGLE, his POV. Ann is walking past the firestation. Joe comes out to look at her. JOE Hi. ANN Hi. JOE Where you going? ANN Going home. They start to walk down the street in the rain. JOE Going home, yeah. I told them what you said... ANN (over a clap of thunder) What? JOE I told them what you said about the script... They take refuge under the awning of the printshop. ANN I didn't say anything special, I was just talking out loud. JOE ...how else can you talk? ANN No, that's true. JOE No. You, I told them, you can't betray with the picture what you're saying with the words. And, I don't know, the movies, I don't know. They should be socially uplifting, why does she have to show her br...what is this...? They look in the window of the old printshop, the awning under which they have sheltered. ANN Yessuh. Joseph Knights printshop. Vacant for thirty years. JOE Is it... ANN Yep. N'it's for sale. (pause) One of the few things money can buy. Joe looks in the window of the printshop. ANN (CONT'D) Would you like to see it? I've got the key back at my store... JOE I'd love to. ANGLE Ann runs out into the rain, Joe runs along side her. In the b.g., we see the fireman closing the doors of the firehouse, and the firedog being restrained, on a leash, by him, and shut up inside the firehouse. EXT. BOOKSHOP - NIGHT. ANN How's your star? JOE Gosh, you look nice. ANN ...what...? There's a huge flash of lightning and a clap of thunder and the lights on the street flicker, and come back on. Beat. ANGLE INT. BOOKSHOP - NIGHT. JOE What would you do with it, the printshop... ANN Start back up the Waterford Sentinel. Town newspaper. Show you the plans... She goes into the washroom area, and comes out with two towels. She throws one to Joe, and begins toweling her hair with the other. She hands him some plans, which show photos of the old printshop, and copies of the Old Waterford Sentinel, circa 1900. JOE Yes, it's a lovely idea... She emerges from the back room. She has stripped off her wet jacket and shirt, and put on a light stockboy's jacket. ANN Print it right here. There's another clap of thunder, and all the lights go out. Pause. ANN (CONT'D) Oh, my. (pause) Life in the country. One second. Ann takes a small match from the drawer, and lights a small kerosene barn lantern. ANN (CONT'D) Well. There you go. She sits down on the couch, and spreads the plan on a small table. ANN (CONT'D) Press still works. JOE It does? ANN Did as of last week. She shows him the poster for "Trials of the Heart." ANN (CONT'D) Best way I know to get ink on your hands. JOE You'd do the newspaper right here. ANN That's something a man could do...? JOE You know what else a man can do? ANN What? He moves closer to her. He is about to kiss her when the firedog appears on the couch between them. ANN (CONT'D) One moment... She goes in the pocket of her jacket, the dog follows her. She cannot find a dog biscuit. Beat. Joe pats the dog on the head. Leads him to the front door, puts him out. The door blows in the rain. JOE Pelting down out there. ANN People might be better off. They thought about it, spent the evening back in the... She comes close to him. The dog reappears between them. Joe looks around, and goes back to a window, and shuts the window. Ann crosses to her desk. Takes out a box of dog biscuits. The box is empty. The two of them lead the dog out, and pet it on the head. They turn back and the door is slammed. EXT. BOOKSHOP - NIGHT. Beat. They start back to find the door locked. ANN Left the keys inside, in my jacket. Joe nods. JOE Well. S'pose I should be getting home...Look. They turn and Cal, the policeman, is standing next to them. In raingear. ANN Cal... CAL Annie...got an umbrella...? ANN Nope. CAL I'll walk you home, you can have my coat. He starts taking off his slicker. ANN Then you'll be wet. CAL I'm goin off-shift. Come on...I'll walk you home. He covers her with his slicker, and they walk away. We see in the background Uberto and his helper, at the firehouse. Uberto swings a shuffleboard disk, and the dalmation window shatters and falls in the street. Some falls on his head. INT. THE COFFEECORNER - DAY. Doug talking to Postman. DOUG Ten dollars apiece for outdated textbooks you or I could buy retail for a dollar ninety-five... Carla is serving breakfast, her wrist in a cast and a small bandage on her forehead. DOC WILSON Mornin' Carla...how's the itching...? CARLA Okay, Doc. DOUG Bear with me, now--because what're we getting for our money?...See the cat and dog...? See what I'm saying? Nice to take this opportunity to mount an investigation of... She assembles a tray, starts out the door, as Maude comes in. MAUDE Morning, Carla, what happened to you...? DOC WILSON She went to fetch a pail of water. Carla goes out the door. INT. WALT'S ROOM - DAY. Walt, Marty, Bob, Claire, Joe, coffee urns. They work on the script. WALT So you see what I'm saying...the movie is about purity... BOB I've always seen that. WALT We don't show her breasts, we just show your reaction... CLAIRE I'm so comfortable with that, Walt, I can't tell you... WALT Well, Joe said it, and he's right. Knock at the door. Marty goes to the door. ANGLE Carla outside the door, talking to Marty. Marty takes tray. Carla has bandage on her head and a small cast on her wrist. CARLA And I have Mr. Barrenger's Tuna B... MARTY (hands her a bill) Thank you. CARLA I, well, you know, I tried to take him, in his room. MARTY I think he's moved... CARLA I, uh... (pause) Um... ANGLE Inside the room. Marty closing her out. Bob and Claire talking. BOB That makes a lot of sense, Claire, that makes a lot of...list...listen, cause the audience isn't coming to see your breasts. They are coming to see you act. What are you doing this evening...? CLAIRE I'm having dinner with W... WALT We're going to discuss the scr...you wanna come along...? BOB You mind...? CLAIRE No, are you kidding me, Bob, not at all. WALT Marty... MARTY Yeah? WALT Would you, tell the guy, get the A.D., someone, somewhere where we can get away, something, I want, you know, last day before the shooting, get away, forget it, have some local food. (to Joe) You want... JOE I've got a date. WALT He's got a date, he's got a date, is this guy fantastic...? Already he learned how to write a movie, and he found a girl to get his toes curled, what a guy, what a...what a literary find...! First A.D. walks in, talking on a cellphone. FIRST A.D. (on phone, sotto) I'm trying, honey...I'm...look, is your Ma, when is your Mom coming? Oh. (pause) What did the midwife...? WALT Did you, where are we going tonight...? FIRST A.D. I...? WALT Some, you were, you were going to make a reservation for us? Where's my schedule? Where are we booked tonight? FIRST A.D. My wife's having a baby... WALT You what...? Is that on the callsheet, is that on the callsheet, or is that personal business? Ah, Christ. Marty...Are we paying you? FIRST A.D. I... EXT. REALTY OFFICE - DAY. The Real Estate office. The placard with the "Old Printshop" advertised. The Realtor taking the placard out of the window. INT. BAR - DAY. The bartender is looking down studying a vast book, "State Statutes of Vermont". Doug drinking. DOUG She didn't even finish knitting me the sweater... First A.D. walks in. Doc Wilson walks in. BARTENDER Mornin', Doc... DOC WILSON You doin' here, Doug, thought you started out the day with that pernicious caffeine... DOUG Kiss my ass. DOC WILSON Well. BARTENDER He had a hard day. Ann's deserted him for some guy on the movie. DOC WILSON Well, they don't always leave with the ones they came in with. BARTENDER Big day last night. DOC WILSON Hope to tell you. Didn't I pick the fragments of glass out of Bob Barrenger's actual head myself. ANGLE IN THE B.G. We see Carla entering with bags of food and checks for bar patrons. BARTENDER Mornin' Carla. CARLA Mornin' Uncle Ron. DOC WILSON Cluster of events. Don't see something, ten years, allasudden. Three times inna night. BARTENDER That's what they call an events cluster. Some guy, nobby orders a Manhattan, fifteen, twenty years, allasudden, three times inna night. DOUG Who got their heads cut? BARTENDER ...some fella. Orders a Manhattan. DOC WILSON What? DOUG Who got their heads cut? DOC WILSON Uh. Bob Barrenger, fella, Cameraman... DOUG You said three...? DOC WILSON Did I? I think you're mistaken. ANGLE on Doug, looking over at Carla, with a small cast on her wrist and her head beneath a babushka, in the lobby. Doug looks up. INT. CORRIDOR TAVERN MOTEL - DAY. Carla, being led by the hand, by Doug. Following them, her Father Jack and Cal the trooper. CARLA I wasn't in the car... DOUG We're going to s... JACK Doug, she says that she wasn't in the c... They stop at a room, knock on the door. A PAUNCHY SALESMAN opens the door. SALESMAN Yeah? DOUG (beat) I've got the wrong room. The Procession reverses, starts down the hall, runs into Marty coming out of his room. DOUG (CONT'D) (to Cal) Arrest him. MARTY What is the...? DOUG Arrest him. CAL For what...? DOUG (beat) Conspiracy in Statutory Rape. MARTY Conspiracy in Statutory Rape? Okay. Of whom? DOUG This young woman. CARLA Nobody touched me, I was at home. MARTY (to Carla) Who is it raped you? CARLA Nobody. MARTY Well, what's the beef? DOUG She was in the car with Bob Barrenger last night. And she was injured coming home from a love tryst, so... MARTY You were in the car with Bob? CARLA No. MARTY Then what is the...? He steps back into a linen closet, takes Doug with him by the lapels. INT. LINEN CLOSET - HOTEL HALLWAY - DAY. MARTY Now what is this, you sonofabitch, because if you haven't heard about the laws of Malicious Prosecution, you're about to. DON'T FLINCH WHILE I'M TALKING TO YOU, YOU TWO BIT SPEEDTRAP FRAUD: There's an old saying, two scariest things in the world, a black man with a knife and a Jew with a lawyer. Now, I am a lawyer, and I am The Jew, and you continue ONE MOMENT with this slanderous shit here in this public place, I'm going to have your ass over my mantleplace. THE KID WAS NOT IN THE CAR, SHE SAYS THAT SHE WASN'T IN THE CAR, NO ONE SAYS SHE WASN'T IN THE CAR, NO ONE SAYS THAT SHE WAS IN THE CAR, YOU HAVE NO CORPUS AND YOU HAVE NO CASE, AND YOU KNOW IT. SO I'M NOT PAYING PATSY WITH YOU HERE, YOU MOTHERFUCKER. Look in my eyes: I made eleven million bucks last year and I don't like being trifled with. Now I think that the better part of valor, though we've got your back up here...the better part of valor is to step away. Or, before God, I will see you disbarred. (beat) Now, what do you think? (beat) We all have a movie to make. Now, can we stay together here... (pause) What do you say...? Have a cigar. He puts a cigar into Doug's pocket. INT. HALL - DAY. The two come out of linen closet, Marty with his arm around Doug. MARTY It's a mistake. It's all over. (to Carla) I'm sorry that we've inconvenienced you. CARLA I wasn't in the car. MARTY We know that you weren't. They walk down the hall. Before them, Claire, half clothed, backing out of a motel room. CLAIRE ...because you treat me like a child...you treat me like a child...that's why I can't come... The procession has reached the open door. They look to see whom it is Claire is addressing. Carla looks in the door. ANGLE CARLA'S POV Bob Barrenger, clutching a towel to his naked self, smoking a cigarette. ANGLE The group in the hall. Carla points into the open door. CARLA He took advantage of me. INT. PROD. OFC. - DAY. Cal, Bob Barrenger, Walt, Doug, Carla and Jack. MARTY ...upset and impressionable... (to the A.D.) Get me the Mayor... BOB (to Carla) ...I was just talking to that girl in the other room. MARTY ...overcome by the events around her, the presence of a high-powered... BOB (to Carla) I never touched her. My mother's gr... MARTY And a fantasy object... DOUG (to Cal) Tell him to get dressed... CAL Uh, sir... The First A.D. enters with lawbooks, marked as to page. MARTY (takes lawbooks) Wally...? WALT Look, Carla. This is a hard time for you. Many young people go to Hollywood. I did...And we all dream of it, and here, here Hollywood has come to you... CAL Mr. Barrenger, I'm very sorry, but... WALT Here this dream world has come to you. Now, you obviously have an active, a vivid imagination. CARLA Her... BOB I swear that that woman in my room... WALT Be quiet, Bob. A fertile mind. Now we can use that kind of people in our work. Yes, we can. Now, and this is what occurs to me. There's a part in the film...isn't that right, Marty...? Marty is perusing the lawbooks. MARTY Mmm. WALT That we could use you in and I think that's quite a fine trade-off all around and an ill wind that blows somebody good. MARTY (of the book) Here it is: Statutory r...Blah, Blah, Blah, Blah..."statutory"..."unsupported testimony by the..." (he shows the book to Doug) Hold on, Bobby... (to Doug) You've got nothing, and you know it. By God, you know it. Harassment. You need a...Even if this was true, you need a witness. You need someone puts her in the car, and you've got nothing. Now we all have...yes, give her that part in the film. (to Carla) Yes, we'd love to have you...Now: we all have more important things to do, isn't that right...? Marty starts ushering everyone out of the room. MARTY (CONT'D) Isn't that right? I'm sorry that you all went to this... JACK I knew she wasn't in the car... MARTY This has been just an unfortunate... He ushers them out, the phone is ringing. Walt picks it up. WALT (into phone) Yes? Hello, Mr. Mayor. Nothing, just an, an unfortunate... (he covers the phone) It's the Mayor, he's saying... MARTY Is he cool or angry? INT. MAYOR'S HOUSE - DAY. Mayor on the phone. Sherry in the B.G. MAYOR Well, these things happen. Purpose of my call, my wife wanted to know what brand of cigarettes Mr. Barrenger smokes, so she could lay some out tonight...we got the list of his dietary requirements... INT. PRODUCTION OFFICE - DAY. WALT (hangs up phone) So we just got lucky. BILL Marty, it's Howie Gold on the coast, he needs your confirmation on a request for money...? MARTY And I need a drink. Marty exits. WALT (to Bob) If your memory was as long as your dick, you'd be in good shape. How long since you almost went to jail for this shit? BOB How could she turn on me like that? I thought she liked me. WALT Can we try to keep our pants buttoned and get out of this town in one piece? BOB I'm ready! MARTY Stay ready. Stay by yourself in your room. BOB What'll I do for fun? MARTY Whyn't you learn your lines? BOB I know my lines... WALT You do...? BOB I just don't know what order they come in... Walt walks away from Bob, shaking his head. ANGLE On Walt as he walks down the stairs. WALT I tell you what, let's ditch these cockamamie locals. I need to get outta here. Go to some roadhouse tonight, just us. Claire, Bob, siddown, have a bottle of wine. Tell me where we're going, and let's go. They walk by the bullpen, wherein we see P.A.s refilling Evian bottles from a ratty old watering can. P.A.s take us, with their Evian bottles, into Walt's office, where we see the "Dinner with the Mayor" sign. INT. MAYOR'S HOUSE - NIGHT. Twelve overdressed people, including the Postman, the Gunstore Owner, etc. sitting, still around the Mayor's laden dining table. Beat. Sherry looks over her shoulder. ANGLE In the next room, the Mayor on the phone. Hushed. MAYOR Well, you must, where did they...where...I... Pause. Very angry. He hangs up, looks out the window. ANGLE POV The Mayor lets the shade drop, walks back to the table. Silence. Beat. INT. BAR - NIGHT. Doug, in his cups, at the end of the bar with the First A.D. DOUG Hey, you've gotta eat a peck of dirt... FIRST A.D. My wife just went into labor... The bartender studies his state statutes book. We see HIS POV. Inside the book the storyboards show the movie's heroes copulating. DOUG Half a buck I'd close it down...it's per...you know, it's perfidy, you got your Barrenger, molesting little girls... FIRST A.D. He should be put in jail. DOUG Half a buck I'd put him in jail... FIRST A.D. You should. DOUG I had a witness I would. FIRST A.D. A witness to what...? DOUG You know, the rape, to...even to the accident... FIRST A.D. You mean with White...? DOUG What? FIRST A.D. You mean you need a witness in addition to White...? DOUG Who's White...? FIRST A.D. The writer. DOUG (beat) He saw the accident...? FIRST A.D. Sure. DOUG He saw the girl in the car... FIRST A.D. You bet he did. INT. MAYOR'S HOUSE - NIGHT. The Mayor and his wife alone at the table. The maid emptying trays of food, untouched, into a galvanized steel garbage pail placed in the middle of the room. One of the guests leaving, putting on her coat. Dips back into the dining room to try to pick up a tray of pate. SHERRY Don't you touch that...I want them gone. MAYOR I signed the permit. I don't know how I can. SHERRY I want them thrown in jail. MAYOR Sherry, Sherry... She empties it into the trash. Beat. The guest, chagrined, leaves. The Mayor, sitting drinking booze out of a large glass. The phone rings. Beat. He goes to it. MAYOR (CONT'D) (into phone) What...? (he jiggles the receiver) Get me the State Police. EXT. PRINT SHOP - DAY. A sign in the window, "Sold" is stamped over and reads "Under Agreement." Early summer morning. Joe, holding a cup of coffee, looking at the print shop. Ann walks up. JOE Good morning. ANN Sleep well? JOE Yeah, you? ANN Oh yeah. JOE I've been thinking: look at this: we live up here... ANN Yes... JOE We could live up here, live up in the country. ANN Now you're talking... JOE ...and we could get up every morning... ANN ...well, we do that anyway... JOE And come to the printshop. You know why...? ANN ...the better to eat me with, your dear? JOE To print the newspaper. And I'd come to write. To write. To write. Right here in the office. ANN Not without a rolltop desk. JOE Well, I could get a rolltop desk. ANN Happen to know where there's one for sale. JOE Well ain't you amazing. They walk on, onto the scene of various filmfolk setting up. EXT. STATE AND MAIN - DAY. ANN Lookit that, up already. JOE That's why we filmfolk get along so well with you farmers. Both up with the chickens. They push through the mass. The street is closed off by Police Cars. They come upon a TV REPORTER, doing a standup in front of the firehouse, where we see, in front, both the old firetruck, and state trooper cars. TV REPORTER Where Movie Star, Bob Barrenger, fresh from his troubles with the law last year... ANGLE On Ann and Joe, as they look on. ANGLE On a state trooper and Doug, as they walk through the crowd. Marty walks up to the TV REPORTER. TV REPORTER (CONT'D) ...is once again in hot water. Involved in a car crash last night with a young, a very young woman, Mr. Barrenger is being arrested today for... MARTY You better make sure you got your facts straight, pal, cause, you step off the line and I'm going to sue you personally for... The trooper, Doug, and Bob Barrenger walk up to Marty. TROOPER We're looking for Joseph Turner White... MARTY Oh, good, yes. Good morning. Where are you taking Mr. Barrenger? TROOPER We are looking for a Mr. Joseph Turner White...? MARTY What are you doing with Mr. Barrenger? DOUG He's under arrest... Doug hands the arrest warrant to Marty. MARTY Oh, good. I'm his lawyer...and you must be Perry Mason. Guess what, you're about one-half step from a world of hurt...how diverting...the Mayor's gonna have your ass. Can I watch? Camera takes the group, the trooper, Doug, Bob, in handcuffs, Marty talking with them, through the crowd, on the back of which, we see Ann and Joe. DOUG Well you guess what. The Mayor sent me. I have your Mr. Barrenger with a history of... MARTY ...a history of nothing, he was acquitted... DOUG Moral turp...you're on my home court, friend, I have the Mayor and the town behind me, and forget making your movie: I may own the studio when I get through with you: I got a civil suit, I got rape, I got collusion... MARTY You've got nothing, you don't have a witness... DOUG And I've got a witness! Your Mr. White saw the crime. MARTY He told you that... DOUG He didn't have to tell... MARTY I want to talk to him. Would you ex... DOUG Oh, you're his attorney, too...? MARTY Later for you, pal. DOUG Okay... He motions the cop to take out Barrenger. Marty sees Joe in the back. MARTY Bobby, don't say anything. BOB Nothing happened. DOUG We'll see about that at the inquest. ANGLE On Marty, as he leads Joe down into an alleyway, and into a backyard, hung with washing on the lines. MARTY Yeah, hi, pal, I need to talk to you... INT. BOOKSHOP - DAY. Ann, Joe and Marty. Cal has followed them into the bookstore. He speaks privately with Ann and exits. ANN What is it all about? JOE I saw... MARTY How do they know that, you told them? JOE No. MARTY What did you say to them...? JOE I didn't say anything to them. MARTY How do you know you saw it? JOE I don't know. MARTY Well, then, you didn't see it, right...? JOE I don't... MARTY You didn't see it... JOE I...? I saw it. I was there. MARTY You were there. At...at 10:35...? Joe takes the arrest warrant, looks at it, changes his glasses. JOE (as he reads) I was walking down the street...I remember, I was writing a... MARTY What glasses were you wearing? (pause) Were you wearing your reading glasses...? JOE I... MARTY You told me you were writing. Don't you wear your reading glasses to write...? Marty's cellphone rings and he answers it. After a pause, he hangs up. MARTY (CONT'D) I've got to go to the jail. He exits, leaving Walt alone with Ann and Joe. ANGLE on Ann. She sees something down the other street. We see Cal, the policeman, enter, start toward Joe, we see Ann restrain him, and speak to him in the B.G. for several moments. He shakes his head, and she reasons with him, and there is a pause and he looks at Joe, and exits. Beat. ANN ...he's going to give you a couple of minutes. Pause. Joe walks Ann off to the closed back door of "The Waterford Players." JOE What am I gonna do? ANN You got to tell em that you saw the accident. Don't you? JOE I can't do that. (pause) If I tell them, they'll, if I tell them, they'll try Bob for rape, they'll...it'll ruin his career... ANN But that's what happened. JOE But it'll stop the movie. ANN Maybe they'll be other movies. JOE They'll...they'll blackball me... ANN Carla was in the car, right? JOE I...I think that's right... ANN ...you think that's right... Pause. JOE What'm I gonna do...? Ann picks up a copy of the old Waterford Sentinel, which was left on the coffee table. Ann hands the paper to Joe. ANGLE Joe holds the paper. ANGLE INS The masthead reads, "Waterford Sentinel, All the News of the Mountains, 'You Shall Not Bear False Witness.'" ANGLE On Ann, who has also picked up the "For Sale" sign, showing the printshop. She stands looking at Joe. Beat. Cal enters. They look towards him. CAL Lotta hubbub on the street. I'm taking you the back way. EXT. BACKYARD OF THE BOOKSHOP - DAY. Cal walks with Joe; still holding the newspaper. As they round a housecorner, Walt appears and walks with Joe. WALT (checks watch) Let's speak English. You've got to help the side. JOE You want me to lie. WALT To the contrary. I want you to tell the truth. (pause) The truth is, you can't tell me, to a certainty, that you saw the thing. You don't remember, a gun to your head, which glasses you have on. And you have a fertile imagination. Imagination wants to fill in the blanks. Now. If you aren't sure, then they have nothing. Bob walks free. As he should. (pause) Joe: wasn't long ago they buried actors at the crossroads with a stake through their heart. You know? The people who are talking to you about the way we live though we may praise them, we fear them. And they fear us. Because we tell the truth. About our lives. Now, this is a damn roust, and everyone knows it; the guy is looking for a case, he wants to make a name for himself. If we let him do that, if we let him do that, then we're being false to our community...to our community, you understand...? To our world. Cause you are a part of that world, now. You have to take off the Steel Rolex and put on the Gold Rolex. (pause) And be part of your world. I got a five picture deal with the studio. And you stick with me. You write one, two more, you stick with me, and you'll direct the third one. You are a part of this world. It's in your blood. It's you. You have to do the right thing: we're out in the Provinces, the Sheriff, literally is at our door. You have to stand with the troops, Joe. That's the bottom line. You have to...if you had the leisure to think it through, you'd see it for yourself. The girl wasn't in the car. Cal takes Joe to a side door of the courthouse. INT. SMALL COURTROOM - DAY. Joe coming in through the side entrance of the courtroom. Various law books and dusty forms on the shelves. Cal leads him into the courtroom, empty, save for the court reporter, Maude and the BAILIFF. Cal motions Joe forward. CAL ...Joseph Turner White... BAILIFF Hear ye, hear ye. Sixth District Court. And for the county of Kadona, State of Vermont, the honorable James Addison Flynn presiding. All those having business before this court, draw forward and you will be heard. Judge enters. BAILIFF (CONT'D) All rise. JUDGE Please...Mr. White...? This is a simple matter of... The clerk hands him a sheet of paper. JUDGE (CONT'D) Uh huh...all we need's a simple fact or two...You're going to give your recollection of the accident last evening, at the Corner, State and Main. Would you please swear him in. BAILIFF Do you swear to tell the truth-- EXT. MAIN STREET - DAY. A crowd, moving along, with the TV REPORTER. TV REPORTER (talking into camera) ...the arraignment, as we said of Bob Barrenger, The Bob Barrenger, star of The Old Mill, about to begin shooting here, in picturesque and sleepy... (sound of shouting, and reporter looks around) We should say, formerly sleepy...Yes, yes...it's...yes, it's Claire Wellesley...and we're going to try to get a look at... The crowd moves away, revealing Ann, standing in front of the realtors, looking at a card in her hand. She looks up to see Joe coming toward her. ANGLE Extreme close up, she smiles. ANGLE Extreme close up, Joe. He looks toward Ann, sheepishly. ANGLE Ann, as she looks down at the card in her hands. ANGLE INSERT It is the real estate placard for the printshop, marked "under agreement." ANGLE On Ann, as she rips it up. INT. LOBBY OF THE HOTEL - DAY. Joe coming in, a hangdog look on his face. P.A. (to Joe) They need those rewrites on the Old Mill Scene... Joe nods. Continues through the lobby. ANGLE On various reporters, Scott being interviewed. SCOTT ...about his personal life...though I can tell you a few things about... Joe walks past. JOE Would you please hold all calls to my room? SCOTT Though I can tell you a few things about his dietary requirements. The old bellhop is packing up his lunchbox and changing into his streetclothes. INT. JOE'S ROOM - DAY. Joe enters and takes out his pad and pencil. He sits on the bed. On the pillow, he sees and picks up a black and red hunting jacket, onto which the one foot short sleeve has been knitted in baby blue. There is a card in the picket that reads "Better than new--it's got a story!" He puts it down. He picks up his notebook, in which he has written: "The Purpose of the Second Chance is to allow you to make the same mistake twice." He stops by the mirror on the chiffonier into which he puts the lure, which still has the attached card reading "The truth may not always set you free, but it's always the truth-- Joseph Turner White." Joe goes to the bed. On the bed is a small package tied with ribbon. Joe opens it. ANGLE INS It is a small thing of maple syrup. Attached to it is a card reading: "It is your invention which makes everything sweet." He takes off his jacket, and picks up his notebook. Out of his jacket pocket falls the old copy of the Waterford Sentinel. He picks it up. ANGLE, his POV The masthead: Waterford Sentinel "The Voice of the Mountains, You Shall Not Bear False Witness." He puts the newspaper down. Picks up the maple syrup card again, and looks at it. He sees an arrow and turns it over. ANGLE INS The back of the card reads: "How about an Associate Producer credit...?" He takes the paper, balls it up and throws them into the trash. He picks up the fishing lure which is resting on the typewriter. Puts it into his pocket, thinks again, throws it in the trash. Shakes his head, and picks up his suitcase and starts packing. EXT. ANN'S STREET - DAY. On Doc Wilson, as he walks down the street. A little kid, on a scooter, is going in the other direction. KID ON SCOOTER Mornin', Doc... DOC WILSON Mornin', Billy, where ya goin in such a hurry? BILLY Down the corner, see the ruckus... DOC WILSON Watch the curbs, now... ANGLE ON Joe, as he stands across from Ann's house, looking at it. He holds his suitcase. DOC WILSON (CONT'D) (of his suitcase) Where you off to? JOE I, uh...I'm leaving. DOC WILSON Why? JOE I perjured myself. (pause) I told a lie, and I ruined my life. That's what I did... (shrugs) I don't suppose you could help me with that, could you? Turn back the clock, or something? Give me back my, give me back my purity, I don't suppose you could just wave your magic wand and do that, could you...? But what is truth? Eh? In't that the thing? What is true? DOC WILSON It's the truth that you should never trust anybody, wears a bowtie. Cravat's sposed to point down to accentuate the genitals, why'd you wanna trust somebody, s'tie points out to accentuate his ears...? Joe turns, to see Doc swigging from his flask. In the b.g. we see the bellhop walking. Beat. JOE Aren't you supposed to set an example for people...? DOC WILSON Nope. I'm just supposed to hold people's hands, while they die. What'd you say your problem was... JOE ...I just swore my life away, back in that... DOC WILSON (as he sees an older woman off on a porch to the side) Mornin, Chessy...how's the back...? Doc walks off to his office. Joe, as he walks away, toward the station. Bellhop walks through. EXT. RAILROAD STATION - DAY. JOE I ruined my life. Isn't that funny, that you can actually do it in one moment just like they say. I ruined my life back in that courthouse. Bellhop, who has walked up beside him. BELLHOP What courthouse? JOE Courthouse back in town. BELLHOP Town ain't got no courthouse. JOE What? BELLHOP Ain't got no courthouse. Courthouse burnt down, 1960. The train is arriving. The Stationmaster puts out the steps to help the people down. JOE Well, where do they hold court? BELLHOP Hold court, they have to, science lab, the high school. An ELDERLY LOOKING JUDGE FELLOW descends from the train, followed by a CADDY with his golf bag. STATIONMASTER Mornin, judge, what brings you here? JUDGE I'm sposed to hear some deposition, some fool, saw the accident last night. JOE ...the courthouse burnt down...? STATIONMASTER Yep. Courthouse burnt down, 1960. Part of a spate of fires, Old Mill, Courthouse. Sposed to've been set by some deranged teenager. Joe looks around. ANGLE, his POV. The old bellhop walking down the tracks. ANGLE on Joe, as he turns back into town. ANGLE C.U. ON THE STATIONMASTER STATIONMASTER (CONT'D) Yep, never did discover who set 'em... He smiles, and lights his cigar. EXT. COURT HOUSE BUILDING - DAY. We see the crowd has moved down the street and the "Courthouse" building is empty. INT. COURT HOUSE - DAY. Joe enters, and the camera takes him into the deserted building, through the courtroom, and, in back, he sees Ann standing alone. He walks back to her, through the doors which appear to be the Judge's chambers. ANGLE, REVERSED. We show that the walls of the Courtroom are the Set, and we are back in the "Trials of the Heart" set. Ann is sitting there. Reading her play by Joe White. He looks at her for an explanation. Maude, the court reporter woman, is sitting in the B.G. Ann is knitting in pink wool. ANN I thought you needed to get it out of your system. Ann moves to embrace Joe. They hear screaming. They turn. EXT. MAIN STREET - DAY. ANGLE their POV At the end of the alleyway, in Main Street. We see Sherry, the Mayor's wife, leading a crowd. SHERRY ...A blight, a blight and an obscenity...that's good english, isn't it? How's that for entertainment...? ANGLE At the mouth of the alleyway, on Main Street. We see ANGLE INS: the baseball on which is written "To Chucky, from your best friend, Bob Barrenger." ANGLE XCU The distorted face of Chucky, heaving the baseball. ANGLE On Bob Barrenger being led through the crowd, a baseball hitting him in the back of the head, as troopers hustle him toward the courthouse. In the B.G. Ann and Joe emerging in the alleyway. ANGLE On Ann and Joe. Joe starts to cross the street. We see the airport van. ANN What are you going to do? JOE I'm going to tell the truth. They start to cross the street. In the B.G. a little man with a bag (HOWIE) gets out of the airport van. Joe and Ann walk toward the crowd at the mouth end of the high school. INT. HIGH SCHOOL CORRIDOR - DAY. A crowd of people, T.V. technicians, and a view of Doug on a T.V. monitor. DOUG ...and to exterminate this vermin, yes, I use that term, who have abused, who have desecrated, yes, the license granted to them by a gracious nation. ANGLE On Marty and Walt, standing near the monitor, looking on. Shaking their heads. ANGLE On the monitor. Doug, seen through the monitor. DOUG (CONT'D) ...who spew filth and degradation... (he begins wiping his head) As he does so, a makeup person comes in and sponges him. DOUG (CONT'D) ...thank you... TV REPORTER ...you want to clean up...? ANGLE On Doug, seen "live" in the next room, starting to wipe his brow. DOUG Yes, thank you. ANGLE Marty and Walt watch Doug, as he walks down the hall. TECHNICIAN Five minutes, and we're going live to the network. DOUG (to himself) ...foreign, and unamerican perversions of the Democratic process. By those we have entrusted with our dreams... ANGLE On Marty and Walt, looking on. WALT Do something. MARTY You tell me what to do, I'll do it. They look on to the preparations for the T.V. WALT ...and I was just paying off my house in Malibu... Ann and Joe push through the crowd. WALT (CONT'D) Thank God, it's up to you, Pal. Sup to you... JOE I'm out. WALT I don't getcha. JOE The girl was in the car. WALT I treated you like a son or nephew. JOE It's not you, it's... WALT No, what is it? JOE I have to tell the truth. WALT ...that's just so narrow... JOE The girl was in the car. WALT Then you're finished in show business. JOE So be it. WALT And my company sues your ass for sixty million dollars. JOE For what cause? WALT I don't need a cause, just a lawyer. HOWIE GOLD shows up holding his bag. HOWIE I'm a lawyer... MARTY Howie. HOWIE Yeah? MARTY What are you doing here? HOWIE What am I doing here is I just flew seven hours cause you asked me here. WALT What for? HOWIE (presenting the bag) For this...I hope you need it, cause it's coming outta your budget... ANGLE INS: THE BAG As Marty opens it, it is full of money. INT. LAVATORY HIGH SCHOOL - DAY. Doug is mopping his face up. He looks up. Marty is standing there. MARTY Hi. DOUG I'd prefer it if you didn't speak to me. MARTY I... DOUG ...you know, there's nothing you could say, that could possibly make a difference, so, why don't you just save your breath. Marty puts the case up on the washstand. DOUG (CONT'D) What's in the case? MARTY Eight hundred thousand dollars in cash. Pause. DOUG And what was it you wanted to say? MARTY Gut Yuntif. INT. HIGH SCHOOL CORRIDOR - DAY. Ann and Joe passing through. They stop and Joe comes up to a State Trooper. JOE I'm supposed to give my Deposition...? COP We'll be with you in a minute. ANN I'll wait for you...I'm proud of you. I'll be waiting. JOE If I go to jail...? ANN I'll knit you a sweater. The Trooper nods, and begins to lead Joe through the Mob. As we press forward the Mob begins to reverse direction and passes back towards Joe. Leaving the Hall empty, save for the Judge who comes out, putting his robe into his golf bag. JOE (to Judge) I've come to give myself up. JUDGE Well give yourself up to someone else. I'm gonna get in some golf. Hiya, Annie. Give yourself up to her. And we see Joe has moved up to the T.V. monitor, where we see Doug, in the Science Lab, talking to the press, and holding his money bag in his arms. DOUG I have learned a lesson. And the lesson is this...that everybody needs a second chance. You, me, and these fine, film people here. You know, they have a high- profile, but that doesn't mean they aren't deserving of our trust, and of our respect. You know, I think there is a lesson here, and the lesson is this: it is a lesson of Tolerance...and, as we look at this industry, at this clean, American industry, and as I begin my campaign for Congress... DISSOLVE EXT. MAIN STREET - DAY. Walt on the scene, talking with the Cinematographer, and the Camera Operator. Preparing the first shot. The First A.D. instructing the Extras. FIRST A.D. Okay. Are we getting set up here...are we getting set up...People...? Can we settle...can we settle now...? EXT. THE REALTY OFFICE - DAY. The placard marked "printshop" comes back out of the window. EXT. MAIN STREET - DAY. ANGLE On Ann. As she, holding the placard, starts to cross the street. An old farmer smoking a pipe, driving a pickup is stopped by a P.A. talking on a walkie. We see that it is the "Judge" who listened to Joe's testimony. Ann waves to him, and proceeds to the Old Firehouse, where they are about to make a movie. FIRST A.D. Okay, this is picture... Ann stops at the back of the crowd of onlookers. She waves to someone. ANGLE, her POV It is Joe, sitting near the director, who waves back. ANGLE On Ann, who is next to Cal, the policeman, now in leather jacket and leaning on his Harley motorcycle. FIRST A.D. (CONT'D) Quiet please... ANGLE The slate reads "The Fires of Home." EXT. MAIN STREET - THE FIRESTATION - DAY. Where they are filming the characters in turn of the century garb. Bob Barrenger, dressed as a fireman, is polishing the old fire engine. The actor playing Doc Morton walks past. DOC MORTON Mornin Harry. Heard you had a little fire last night... FIREMAN Waal, you didn't have nothin to do, Doc, wouldn't life be dull...? Two nuns walk by. BOB Mornin, sister. CLAIRE (dressed as a nun) We missed you in Church today, Frank. BOB Sister, I've just come from a fire... ANGLE Joe sitting near the camera, looking through the script. Reading along, mouthing the words. He wears the plaid jacket, one sleeve is pink, knitted. ANGLE The on-lookers. Ann, Cal, next to her, lounging on his motorcycle. Grace and Maude, Spud and Morris, the Postman, the fake Judge, who is also the man smoking the pipe in the first sequence and is smoking a pipe now, Scott from the hotel, et cetera. ANGLE Showing the crew, and the film within the film. We see the livery stable across the way. On its side are painted various ads. Among them, one which says: "Stefan P. Bazoomercom" and Marty is standing next to it. Looking on at the scene being filmed. An A.D. brings him a cup of coffee. The A.D. is passing out pink bubblegum cigars, the bands of which read "It's A Girl!" ANGLE Showing the film within the film, the group at the camera watching, transfixed. SISTER ...to come by next Sunday, and we'll give you a second chance. BOB Only second chance I know, chance t'make the same mistake twice. SISTER Well...time will tell. She walks past the "Bazoomer.com" ad. FIRST A.D. (holding cellphone to his ear) That's a cut...! ANGLE On Ann and Cal, as they talk the firedog comes over and Ann gives him a dog biscuit. In the B.G. we see the man with the pipe get into his pickup and drive off. The Postman goes off continuing his rounds. ANGLE On Ann and Cal as they talk. Next to them Morris and Spud congratulate each other. Next to them, we see the fake judge and the bailiff. CAL Mom's expecting you for dinner tonight. ANN I'll be there. CAL You bringing your new friend? ANN Sure plan to. CAL (pause) He have any special dietary requirements...? ANN He'll eat potroast and like it. CAL Go you Huskies? ANN You bet your life. ANGLE On Joe, as he looks over at Ann and smiles. ANGLE On Ann, giving him a "thumbs up" sign as the Firedog comes and sits next to her. In the background, we see the pickup hit the pothole and bounce. FADE OUT.