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.