"YOU CAN COUNT ON ME" Screenplay by Kenneth Lonergan SHOOTING DRAFT 2000 FADE IN: INT./EXT. A CAR (MOVING). NIGHT The shifting lights from the odd passing car play over the faces of MR. and MRS. PRESCOTT, a pleasant-looking couple in their late thirties, dressed up for a night out. Mr. Prescott drives them along a dark hilly two-lane highway. MRS. PRESCOTT Why do they always put braces on teenage girls at the exact moment when they're the most self-conscious about their appearance? Pause. MR. PRESCOTT I don't know. UP AHEAD, near the top of the oncoming hill, a RED PICKUP TRUCK is poking its nose out of the short exit lane. MRS. PRESCOTT Tom -- MR. PRESCOTT I see him... The PICKUP LURCHES into the road, with not nearly enough time to spare. MRS. PRESCOTT Tom! MR. PRESCOTT Jesus! Mr. Prescott swerves OVER the DOUBLE SOLID WHITE LINE and clears the truck as -- Another pair of HEADLIGHTS from an oncoming truck RISES UP over the HILL directly in FRONT of them -- MRS. PRESCOTT (Screams) Tom! Mr. Prescott's FOOT STOMPS on the BRAKE. We BLACK OUT and there is the SOUND of a terrible CRASH. CUT TO: EXT. THE PRESCOTTS' FRONT DOOR. NIGHT The SHADOW of a big man looms up onto the front door. A big finger RINGS the BELL. A moment. AMY, a thirteen-year-old baby-sitter with braces, opens the door and looks up. In the b.g. we see TWO CHILDREN, SAMMY (Samantha) and TERRY PRESCOTT, in their pajamas, lying on their stomachs in the living room, watching television. Sammy is eleven. Terry is eight. REVERSE: DARRYL, the SHERIFF, a portly fellow with glasses and a mustache, looks down at AMY. SHERIFF Hello, Amy. AMY (Puzzled) Hi, Darryl. SHERIFF (Thinking) Amy, would you please tell the kids you'll be right back, and then shut the door and come outside to talk to us for a minute? AMY OK. (To kids) Be right back, you guys! SAMMY You're not supposed to go out, Amy. TERRY She's going to smoke a cigarette. AMY closes the door and looks expectantly up at Darryl. Darryl doesn't know how to start. EXT. CHURCH. DAY CREDITS BEGIN OVER a blustery April day. The steeple of the little white church stands out against the sharp blue sky. INT. TOWN CHURCH. DAY It's a small church and a small congregation, but it's full. There's a CHOIR of mostly SENIOR CITIZENS arrayed in the back. TWO CLOSED CASKETS are laid out in front of the MINISTER, a fiftyish woman with thick glasses and salt-and- pepper hair, who is giving a eulogy MOS. Among the mourners in the second row sit Terry and Sammy, both redeyed, and uncomfortable in their dress-up clothes. Their Aunt Ruth, a pinch-faced woman in her forties, sits next to them. Sammy and Terry are holding hands tightly. Terry wipes his eyes with his free hand. The Minister addresses her remarks to the children. Sammy is hanging on the Minister's every word; Terry is shifting his eyes and his seat as if it will kill him to sit still another minute. DISSOLVE TO: EXT. SCOTTSVILLE CEMETERY. SIXTEEN YEARS LATER. DAY On the beautiful hill overlooking the beautiful windy green country, SAMMY, twenty-seven years old now, puts flowers on her parents' graves with quick, practiced movements. She is a nice-looking young woman of a neat appearance, saved from primness by an elusive, pleasantly flustered quality. An unsuccessfully neat person. She is dressed in office clothes -- white blouse, dark skirt, high heels, light raincoat over everything. She picks out a couple of weeds and then bows her head and closes her eyes. CREDITS END. EXT. SCOTTSVILLE -- MAIN STREET. DAY Scottsville is a small town. Main Street. Run-down old stores next to a new bank, a couple of chain stores, a few restaurants of varying ambitions. Civil War statue. World War I statue. World War II statue. Residential streets wandering away from Main Street up and down hills. You know there's a minimall somewhere nearby. A fair amount of activity during the daytime. SAMMY'S CAR pulls up across the street from where an eight- year-old BOY in a secondhand baseball jacket and a school knapsack is waiting at the curb. This is her son, RUDY. SAMMY calls out the car window. SAMMY Rudy, come on! I'm really late! Rudy hurries across the street and gets in the car, slinging his knapsack into the backseat. INT. THE CAR (MOVING). DAY SAMMY How was school? RUDY Stupid. SAMMY Why do you say that? RUDY We're supposed to write a story for English homework, but they didn't tell us what it's supposed to be about. SAMMY What do you mean? RUDY I mean they didn't tell us what it's supposed to be about. They said do whatever you want. SAMMY So what's wrong with that? RUDY Nothing. I just think it's unstructured. SAMMY (Smiles) Well, I'm sure you'll be able to think of something. If you can't, I'll help you. INT./EXT. CAR/CAROL'S HOUSE. DAY Sammy stops the car outside a heavily THICKETED DRIVEWAY (CAROL'S HOUSE), and RUDY gets out. SAMMY Don't forget your backpack. Rudy returns to take his knapsack out of the back. RUDY It's not a backpack, it's a knapsack. SAMMY Don't forget your knapsack. Rudy hoists his knapsack out of the back. SAMMY Give me a kiss. Rudy gives her a kiss and puts his arms around her and squeezes her neck. He withdraws, slams the door. As Sammy DRIVES AWAY, he slogs up the long twisting driveway. EXT. MERCHANTS NATIONAL TRUST -- PARKING LOT. DAY Sammy gets out of her car, which is parked in one of the half dozen spaces in the little parking lot allocated for bank employees. She hurries toward the employees' entrance, fixing her skirt as she goes. INT. MERCHANTS NATIONAL TRUST. DAY Sammy hurries down the clean hallway in the back past MABEL, a pleasant-faced fellow employee. MABEL Guess who's been asking for you? SAMMY Oh no, really? Mabel nods and passes by. SAMMY KNOCKS on a big door that says "Manager" and has half the letters of the previous branch manager's name taken off it. BRIAN (Inside) Yeah, come in! Sammy swings open the door. BRIAN EVERETT, the new branch manager, is unpacking a box. Sammy is surprised to see he is in his early thirties and very good-looking in a boyish sort of way; he wears shirt-sleeves and tie, and a wedding ring. SAMMY Mr. Everett? BRIAN Yeah: Brian. SAMMY Brian. Hi. I'm Samantha Prescott -- I'm the lending officer? BRIAN Yeah, hi, how are you? Come on in. Sit down. Sammy comes into the office and sits. SAMMY I am so sorry I was late... BRIAN Yeah, we missed you before... SAMMY I got held up. Believe me, it is not something I make a habit of... BRIAN I'm sure it's not. Actually -- could you just, could you close that door for me? Thanks. Sammy gets up and closes the door. INT. BRIAN'S OFFICE. LATER Sammy sits in front of Brian's desk. Brian is behind the desk listening. SAMMY -- so I always just run out at 3:15 to pick him up and then run him real quick over to the sitter's house. Anyway, Larry never minded about it and I was just hoping it would be OK with you too... BRIAN Well -- Samantha -- I realize that Scottsville is not exactly a major banking center... SAMMY No it's not... BRIAN No -- I know it's not... But it's kind of a personal challenge to me to see what we can do to bring local service up to the same kinds of standards we'd be trying to meet if we were the biggest branch in the state. And that means I don't want anybody running out at 3:15 or 3:30, or whenever the bus happens to come in that day. Now is there anybody else who can pick your son up after school? Does your husband work in the area? Do you -- SAMMY Oh -- No -- Rudy Sr. isn't "on the scene." So to speak. BRIAN Well, I can give you a couple of days to make some other arrangement, but... SAMMY Well -- Brian? I understand what you're saying, and I think it's great. I do. Because there's a lot of things around here that could use some attention. Believe me. But I've honestly been meeting that bus every day for four years now and it really does take just fifteen minutes, and if I take the time out of my lunch hour... BRIAN I'd really prefer it if you would make some other arrangement. OK? SAMMY (Brightly) I'll do my best...! Brian kicks back in his chair and puts his hands behind his head. BRIAN How old's your son? SAMMY He's eight. BRIAN That's a terrific age. INT. SAMMY'S CAR (MOVING). DUSK Sammy and Rudy drive home in silence. The orange sunlight flickers through the trees and onto their faces as they drive along. EXT. PRESCOTT (SAMMY'S) HOUSE. DUSK The same house that Sammy grew up in, with sixteen years' more wear on it. Sammy's car swings expertly by the mailbox, and Rudy reaches half his body out of the passenger window and gets the mail. INT. SAMMY'S HOUSE. DUSK Sammy comes into the house carrying two bags of groceries. Rudy follows, looking through the mail. Sammy passes through the house and goes into the kitchen. RUDY You got a letter from Uncle Terry. SAMMY What?! Her whole face lights up and she grabs the letter. She tears it open and reads it with growing excitement. INT. SAMMY'S BEDROOM. LATER Sammy opens her FILE DRAWER. Inside are tax files, household files, miscellaneous files. She puts Terry's letter away in a very full file marked "Terry -- Correspondence." The folder is stuffed with other letters, on all different kinds of stationery from all over the country, all from Terry. INT. DINING ROOM. NIGHT Sammy and Rudy are eating dinner. It's a biggish house for just two people. RUDY Whose room is he gonna stay in? SAMMY He can stay in the little room. (Pause) But you know what? He's not going to live here. He's only gonna stay for a little while... And it's OK if you don't remember him, because you were only six the last time he was here... But it'll be nice if you got a chance to get to know each other a little bit. Don't you think? Rudy looks worried and doesn't answer. INT. LIVING ROOM. LATER Rudy is on the floor, writing in his school composition notebook. Sammy comes downstairs. SAMMY Rudy? Would it distract you if I put on some music? RUDY No. She puts on a CD, sits down and picks up a book. She looks at Rudy, who is writing away. SAMMY Did you think of a story? RUDY Uh huh. SAMMY What's it about? RUDY My father. Pause. SAMMY What about your father? RUDY It's just a made-up story about him. SAMMY Can I read it when you're done? RUDY It's not very good. SAMMY Don't say that. Rudy keeps writing. INT. LIVING ROOM. LATER Sammy is smoking a cigarette and drinking a glass of wine and reading Rudy's story. It upsets her. INT. SAMMY'S BEDROOM. LATER Sammy sits on the edge of her bed, not dialing the phone. She catches a glimpse of herself in her parents' floor-length mirror with the worn, heavy wooden frame. Against her better judgment she picks up the phone and dials. INT. DAWSON'S GRILL. NIGHT Sammy and BOB STEEGERSON are eating dinner at Dawson's, the only fancy restaurant in town. Bob is in his mid-thirties, a Realtor, a decent, ordinary guy. SAMMY Anyway, Bob, it's sort of this adventure story, and Rudy's father is this secret agent or something, working for the government... And it just made me feel weird. You know? Because I never really say much to him about Rudy Sr., because I don't know what to say. And I don't know whether I should just let him imagine whatever he wants to imagine, or whether I should sit him down sometime and tell him, you know, that his father is not such a nice person. You know? BOB Well... I don't know, Sammy. What have you told him already? SAMMY Not much. He knows I don't have the highest opinion of him. And he knows I don't want to see him or know anything about him, ever. But I tried to keep it kind of neutral. Anyway... I could go into a lot more detail, believe me. BOB Well... It's an interesting problem. But I don't really know what to tell you... It's a little outside my personal field of expertise... SAMMY All right. BOB I'd be glad to give it some thought... SAMMY OK. He is smiling at her. SAMMY What? BOB Nothing... I'm just glad to see you... I'm glad you called me. SAMMY I bet you were surprised...! BOB Um -- a little. Bob drains his wineglass. Sammy cuts at her steak. INT. BOB'S BEDROOM. NIGHT Sammy and Bob lie in Bob's bed, a few minutes after having made love. They are very far away from each other, but trying with difficulty not to let on. SAMMY I should get going... BOB Really? SAMMY Yeah... I've got the baby-sitter... But... Thanks for a lovely evening. BOB Oh. Thank you. She kisses him. She tries to make it sexy, but he's not into it anymore and he politely restricts the kissing. INT. SAMMY'S BATHROOM. NIGHT Sammy stands in her slip brushing her teeth in front of the mirror. She brushes vigorously, looking at herself while she brushes. DISSOLVE TO: EXT. STREET CORNER -- WORCESTER, MASS. DAWN The corner window of a grim little apartment building on a very grim street in a grim little city. INT. TERRY'S APARTMENT -- WORCESTER, MASS. NIGHT A tiny apartment with a bed, chair, table, fridge, and not much else. One window has a broken pane and an old sheet neatly thumbtacked over it to keep the wind out. TERRY PRESCOTT comes in. He is twenty-five years old: a real mess with a certain natural appeal. He wears old jeans, very old hiking boots, and a lumberjack-style coat. He takes a wool hat off his head. His hair is longish and dirty. SHEILA SADLER is sitting at the table by the fridge. She is barely eighteen, frail and damaged. SHEILA Hey, Terry. TERRY Hey. Terry looks at her and smiles encouragingly. She smiles back. SHEILA Where'd you get the hat? TERRY Oh, I got it on the street for a dollar. SHEILA It's nice. TERRY Well, you know, it's pretty much your standard woolen hat. SHEILA Yeah, I had a very similar reaction to it. Sheila looks away. Silence. TERRY Can I get that money from you? SHEILA Yeah. Sorry. As she opens her purse, Terry takes a few vague steps toward her. She takes out a tiny hippie-ish woven wallet and gives Terry all the money in it: a twenty and two ones. TERRY Is that all you have? SHEILA Yeah. TERRY Can you borrow some cash from your brother? SHEILA Um, yeah, but that would involve speaking to him. TERRY Well, I'm definitely gonna be gone for a couple of days at least, Sheila. SHEILA Why do you have to stay so long? TERRY Because my sister is not a bank, you know? I can't just show up and ask her for -- SHEILA You seem to think my brother's a bank! TERRY Oh Sheila can we just cut out the puerile crap?! I'll be back just as soon as I can. OK? I am not the kind of man that everyone says I am. SHEILA I know you're not. TERRY I'll call you tonight. Pause. SHEILA Don't you wanna tell me you love me? TERRY I love you. SHEILA That was really convincing. TERRY Well... I think after this is over you should seriously consider moving back home. SHEILA (Short laugh) Oh, yeah. TERRY (Gives up) All right... SHEILA You gonna call tonight? TERRY Definitely. She puts her arms around him and holds on. EXT. NEW YORK STATE -- MOUNTAINS -- HIGHWAY. DAY Wide open shot of hilly country and a big sky overhead. A GREYHOUND BUS drives into the shot along the curve of the highway. INT. BUS (MOVING) -- BATHROOM. DAY Terry is seated on the toilet seat in the cramped bathroom smoking a joint. He takes a huge hit and holds it in for as long as humanly possible. He blows out what's left, takes another equally huge hit and holds it in. EXT. LOCAL HIGHWAY. DAY The BUS WHOOSHES along a smaller, heavily wooded roller- coaster road. INT. BUS (MOVING). DAY Terry looks out the window at the passing scenery. The sunlight flickers on his face. POV TERRY: The bus rolls past the hilltop cemetery. Terry shifts uncomfortably in his seat. POV TERRY: THE "WELCOME TO SCOTTSVILLE" SIGN whizzes by. Houses start dotting the side of the road. Terry starts getting very agitated. EXT. MAIN STREET. DAY Terry stands at one end of Main Street, backpack over his shoulder, as the BUS DRIVES OFF. He looks around at the town going about its Saturday afternoon business. INT. KITCHEN. SIMULTANEOUS Loud country-western music is blaring as Sammy, wearing an apron, sets a big vase of flowers on the kitchen table and hurries to the oven. There are also cookies, a pie, evidence of massive fancy cooking. She puts on her oven mitts and takes a lasagna out of the oven, as the phone rings. She picks up. SAMMY (Into phone) Hello?... TERRY!... EXT. SAMMY'S HOUSE. DAY Sammy practically bursts out the front door. She has changed into nice clothes. EXT. ALLEY. DAY Terry secrets himself in a small dark alley. He takes out his carefully wrapped half joint and lights it. SMOKING, he looks at the sunlit slant of street beyond the alley. EXT. MAIN STREET. A FEW MOMENTS LATER Terry, fairly well stoned, walks along Main Street. A skinny man emerges from his hardware store to greet Terry and shake hands. Terry says "Hi," but keeps on walking. He passes some other people. He almost runs right into SHERIFF DARRYL, sixteen years fatter and grayer. SHERIFF Whoa there! TERRY Sorry. The Sheriff recognizes Terry and breaks into a big smile. SHERIFF God damn! Terry Prescott! How you doin'? Gimme a cuddle! The Sheriff gives Terry a big bear hug. Terry is wasted and selfconscious but smiling. He pats the Sheriff's back. TERRY How you doin', Darryl? SHERIFF Which way you headed? TERRY I'm just goin' to see Sammy at Dawson's... SHERIFF Can I walk with you a little? TERRY Sure, yeah -- SHERIFF So Sammy says you been out in Alaska...? TERRY Yeah, I was workin' out there for a little while... EXT. MAIN STREET. A FEW MOMENTS LATER The Sheriff walks along with Terry. Terry, very self-conscious about smelling like pot, fumbles to light a cigarette. The Sheriff does not seem to notice. SHERIFF -- Sammy says she's gettin' postcards from all across the country. TERRY Yeah, I've been all over the place... They stop outside Dawson's. SHERIFF Well, it's good to have you back here, I'll tell you that. TERRY Thanks, Darryl. Keep enforcing the peace. SHERIFF Well, that'll be a little harder now that you're home, but I'll do what I can. TERRY No, man, I'm reformed. SHERIFF Oh, yeah. Good to see you, kid. TERRY Thanks, Darryl. Darryl walks away. Terry stands outside the restaurant looking for Sammy. Behind him in the restaurant Sammy is sitting at a table, talking to the waitress. She sees Terry and gets up immediately, smiling like crazy as she threads her way through the tables toward the door. Terry turns and sees her. He breaks into a big smile, tosses his cigarette and goes into the restaurant. Through the window we see them make their way toward each other. Sammy throws her arms around him. He hugs her back with a big involuntary smile as the GLASS DOOR slowly CLOSES. INT. DAWSON'S -- AT THEIR TABLE. A FEW MOMENTS LATER Terry is studying the menu, over-intently. Sammy is beaming at him. TERRY Sorry about yesterday -- SAMMY I don't care -- TERRY I was studying the bus description... and I just... I got on the wrong bus -- I mean I missed my stop -- SAMMY I don't care, Terry. I'm just so glad to see you...! TERRY I'm glad to see you too, Sammy. Um... are you coming from work? SAMMY Um, no, it's Saturday... TERRY Yeah, no, it's just... you're dressed so formally... SAMMY Oh. No. You know, I just thought I'd -- You know I thought it was a special occasion... which it is... TERRY No, it's good. I thought I'd dress up too. He gestures to his shitty clothes. SAMMY That's OK. You look fine. TERRY (A strange, unsuccessful joke) Yeah, this is the haute cuisine of garments. SAMMY What? TERRY Nothing, nothing... Um... So how are you? SAMMY I'm fine. TERRY How's Rudy? SAMMY We're fine, Terry. How are you? (Pause) I mean -- TERRY Yeah... SAMMY -- Where have you been lately, Terry? TERRY -- I know, I haven't been -- SAMMY I got a postcard from you from Alaska...? TERRY Yeah, I was up there for a while... SAMMY But that was in the Fall, Terry... TERRY Yeah, I know I've been out of touch... SAMMY I was a little worried. (Pause) I mean -- TERRY Oh, I been a lotta different places... Um... I went down to Florida for a while... I was doing some work in Orlando... I've been all over the place. SAMMY Well... I just wish you would have let me know you were OK... TERRY Yeah. I didn't realize it'd been so long... He looks around the restaurant. SAMMY (Beaming again) Are you gonna stay in town for a while? TERRY Well, I don't know... I got all these things I gotta do back in Worcester... SAMMY Oh... TERRY ...Yeah, so I'm probably not gonna be able to stay more than a day or so... SAMMY Oh... Well... That's all right...! TERRY ...I'm kind of trying to keep to a schedule of sorts. It's a long and worthy story but I won't trouble you with it right now. He twists around and looks all over the restaurant. She watches him. SAMMY Are you expecting someone? TERRY Who would I be expecting here? SAMMY You just keep looking around, that's all. TERRY No, I was just wondering if we could get some more refreshments, actually. He laughs. Looks down. Silence. He looks up at her. TERRY I've actually got to confess to you, Sammy... that the reason you may not have heard from me for a little while is that I've been kind of unable to write... on account of the fact that I was in jail for a little while. SAMMY You were what? A couple of people in the restaurant look at them. Terry notices but Sammy does not. TERRY Well, I did a little time, I guess, in Florida. For, uh, just for bullshit... SAMMY What?! TERRY It was just bullshit... SAMMY What did you do? TERRY I didn't do anything. Does it occur to you that maybe I was wronged? SAMMY No! TERRY Well, could I please -- SAMMY Oh my God! -- TERRY Would you please let me -- SAMMY -- What happened?! TERRY I got into a fight in a bar down in Florida. Which I was not the one who instigated it, at all. But they worked up all this bullshit against me and they threw me in the pen for three months. I didn't write you because I didn't want you to get all upset about it. I just figured you'd figure I was on the road for a little while. I know it was stupid and I'm sorry. I really didn't mean to make you worry. But you know what? I can't run around all the time doin' stuff or not doin' stuff because it's gonna make you worry! Because then I come back here, and I tell you about my fuckin'... traumas, and I get this wounded little "I've Let You Down" bullshit, over and over again, and it really just -- cramps me! Like I just want to get out from under it!... And here I am back in this fuckin' hole explaining myself to you again! SAMMY OK -- Can you please stop cursing at me? TERRY I mean, I realize I'm in no position to, uh, basically say anything, ever -- But it's not like I'm down there in some redneck bar in Florida having an argument with some stripper's boyfriend and I suddenly think, "Hey! Maybe this'd be a good time to really stick it to Sammy and get myself locked up for a few months." SAMMY I'm sorry. TERRY Me too, man. I mean "welcome home." SAMMY Hey -- You don't write me for six months, I have no idea where you are -- TERRY I'm sorry -- SAMMY -- I don't know if you're alive or dead -- TERRY I'm sorry -- SAMMY -- and then you show up out of nowhere and tell me you were in jail? TERRY I'm sorry, I'm sorry, I'm sorry, Sammy, I'm really sorry...! The patrons are all either looking at them or trying not to look. Silence. TERRY Sammy... SAMMY What? TERRY Um... I'm in the midst of a slight predicament... SAMMY What do you need? Money? TERRY Um... Yeah... I'm broke. I gotta get back to Worcester tomorrow. I got this girl there, and she's kind of in a bad situation...? I just need to borrow some money. Whatever you can spare. (Pause) I'll pay you back... I'll pay you back, man. SAMMY I really wish Mom was here. TERRY So do I, man. SAMMY Nobody knows what to do with you. TERRY I know how they feel, man. Silence, except for the sounds of the restaurant. SAMMY Terry? Can I ask you something? TERRY Sure. SAMMY (With some difficulty) Well -- I mean, do you ever go to church anymore? TERRY Come on, Sammy, can we not talk about that shit? SAMMY Do you? TERRY Um -- No, Sammy. I don't. SAMMY Can you tell me why not? TERRY Um, yeah. Because I think it's ridiculous. SAMMY Well -- can you tell me without like, denigrating what I believe in? TERRY Because I think it's primitive, OK? I think it's a fairy tale. SAMMY Well -- I mean, have you ever considered that maybe that's part of what's making things so difficult for you? TERRY No. SAMMY -- That you've lost hold of -- well, not just your religious feeling, but lost hold of any kind of anchor, any kind of trust in anything... I mean no wonder you drift around so much. What could ever stop you? How would you ever know if you had found the right thing? TERRY Well, uh, I'm not really looking for anything, man. I'm just, like, trying to get on with it. The WAITRESS approaches with their salads. WAITRESS Here we go... She sets them down on the table. SAMMY and TERRY Thank you. The WAITRESS leaves. Silence. Terry picks at his salad. Sammy doesn't touch hers. She watches him miserably. EXT. BANK -- ATM. DAY Terry watches while Sammy inserts her card in the ATM and punches in her code. Terry waits. She punches in $300. The machine grinds out her cash. She gives him the money. TERRY Thank you, Sammy... I'm really gonna pay this back. She takes her card back and puts it back in her wallet. INT. SAMMY'S CAR. DAY Sammy and Terry get in the car. Sammy isn't saying anything. TERRY Where we going? SAMMY To pick up Rudy. She puts on her glasses and her seat belt. She won't look at him. TERRY Well... do you not even want me to visit now? 'Cause I can catch the bus at five o'clock if that's what you want. SAMMY Well, of course I want you to visit, you idiot! I've been looking forward to seeing you more than anything! I've been telling everyone I know that you were coming home! I cleaned the whole fucking house so it would look nice for you! I thought you were gonna stay for at least a few days! It didn't occur to me that you were just broke again. I wish you would have just sent me an invoice! She stops. Terry is now totally contrite. INT. BATHROOM. NIGHT Terry sits in the tub. Water drips from the faucet. He is staring blankly up at the pristine blue-and-white tiled wall and the neatly folded matching towels. INT. LIVING ROOM. LATER Sammy and Rudy are in the living room. Rudy is playing with a Game Boy type game. In the b.g., TERRY is dialing the PHONE. He looks clean and shaved, his hair is neatly combed. TERRY (Into phone) Hi, is that Malcolm?... Hi, this is Terry Prescott?... I been trying to get ahold of Sheila and there's no answer, and I was just wondering if she -- She what?... He sits down. TERRY (Into phone) When?... Well -- Is she all right?... Well, could I talk to her?... Well, could you give her a message that I -- CLICK. He is hung up on. He slowly HANGS UP. Sammy notices that something's wrong. He looks at her from across the room. TERRY That girl I'm with tried to kill herself. SAMMY What? TERRY She tried to kill herself. INT. TERRY'S ROOM. NIGHT Terry is sitting on the bed, addressing an envelope to SHEILA. He puts the $300 in the ENVELOPE and seals it. He sees Sammy standing in the doorway. He starts to unlace his boots. SAMMY Do you have everything you need? TERRY I think so. Sammy comes into the room and sits next to him. He is very busy with his laces. SAMMY What are you going to do? TERRY I don't know. Send the money I guess. SAMMY Maybe you should stay home for a little while, Terry. TERRY Yeah, maybe that'd be a good idea. He starts crying. Sammy pats him. EXT. SCOTTSVILLE CHURCH. DAY A bright, clear, blue-skied Sunday morning in Scottsville. Inside the little white church they're singing. EXT. CHURCH. DAY People are filing out of the church. We also see a couple of the bank employees, including BRIAN and his very pretty six months' PREGNANT wife, NANCY. We find SAMMY and RUDY. Sammy is chatting to some neighbors. Rudy is bored out of his mind, waiting for her. INT. SAMMY'S HOUSE -- LIVING ROOM. DAY Terry is lying on the sofa, smoking, with his feet up and boots on, watching Sunday morning TV. On the coffee table are his dirty ashtray, dirty bowl and spoon, Rice Krispies box and a milk carton. EXT. SAMMY'S HOUSE. NIGHT Crickets buzz loudly outside the house. INT. STAIRS. NIGHT Sammy, in her bathrobe, comes down the stairs into the living room. Terry is on the sofa playing with Rudy's Game Boy. He barely looks up when she speaks to him. SAMMY I'm going to bed. Do you have everything you need? TERRY Yeah. Thanks. SAMMY Good night. TERRY Good night. Pause. SAMMY Terry, I'm really glad you're home. Terry tries to smile at her. TERRY Yeah, me too, Sammy. He goes back to his game. She hesitates, then heads back up the stairs. INT. SAMMY'S KITCHEN. DAY Sammy, Terry and Rudy sit at the kitchen table. Sammy is dressed for work. Rudy is dressed for school. Terry is also fully dressed, drinking the last dregs of a mug of coffee. He is tired, but listening to Sammy very carefully, as if receiving difficult and critical instructions. SAMMY OK. So we'll drop Rudy off at the bus, then all you have to do is drop me off at the bank, and just pick Rudy up at 3:30 in front of town hall, and drive him over to Carol's house. And that's it. She's on Harvey Lane, right past where the Dewitts used to live. TERRY OK. SAMMY Rudy knows where she lives. Terry glances at Rudy, then back at Sammy. TERRY OK. INT. BANK -- MABEL'S DESK. DAY Sammy walks past MABEL'S DESK, carrying a big stack of files. She drops three of them on the desk. MABEL is typing away at her PC. The colors are a garish PURPLE background with GREEN letters. SAMMY God, Mabel, don't those colors hurt your eyes? MABEL Oh no, they keep me fresh. Sammy proceeds down the hall and into -- INT. BRIAN'S OFFICE. DAY Brian is at his desk, busy working between stacks of papers. She knocks on the open door. BRIAN Yeah! (Looks up) Hi, Sammy. What can I do for you? SAMMY Um, Brian? Did you want us to turn this time sheet in at the end of the day, or do you want it at the end of the week...? BRIAN Oh, yeah, end of the day'll be fine. SAMMY Seems like an awful lot of extra paperwork... Brian hesitates, shrugs and smiles. BRIAN I like paperwork. Sammy looks at him with a blank smile. INT. BANK -- SAMMY'S DESK. A MOMENT LATER Sammy sits down at her desk and notices the time: 3:30. She reaches for the phone, then decides not to call. EXT. SCOTTSVILLE -- MAIN STREET. DAY The CLOCK on the front of the TOWN HALL reads 3:31. The SCHOOL BUS pulls up across from the town hall and disgorges a handful of kids. Rudy comes out with his knapsack, looking around... POV RUDY: Terry, across the street, sits on the hood of Sammy's car, smoking. Rudy walks over to him. RUDY You showed up. TERRY Looks that way. INT. SAMMY'S CAR (MOVING). DAY Terry and Rudy drive in silence. Terry glances at Rudy. TERRY Put on your seat belt. RUDY It pushes on my neck. TERRY What? RUDY It pushes on my neck. It's uncomfortable. TERRY Well, when somebody slams into us and you go sailin' through the windshield, that's liable to be uncomfortable too. So put on your seat belt. Rudy puts on his seat belt. RUDY Mom's parents died in a car accident. TERRY I know. They're my parents too. RUDY They are? TERRY Well, yeah. Your mom is my sister. RUDY Yeah, I know. TERRY So that means we have the same parents. RUDY Oh yeah. They drive in silence for a moment. Terry glances down at Rudy. INT. BANK -- SAMMY'S DESK. DAY Sammy, laden with files, plops down at her desk as Mabel is passing by. Mabel puts a phone message down in front of her. MABEL Um -- Carol just called. She said Terry and Rudy never showed up at her house? SAMMY You've got to be kidding me. A MOMENT LATER: Brian, talking to an employee, sees Sammy, across the bank, hurrying out the employees' exit. BRIAN Hey, Sammy? Sammy doesn't hear and exits. EXT. ORRIN'S BACKYARD. DAY Terry and Rudy are banging nails with RAY, a young guy Terry's age. Terry, hammering with swift, accurate blows, glances up and watches Rudy for a second. Rudy is hammering away with no great skill. TERRY Hey. Look. He moves Rudy's hand down toward the end of the handle. TERRY You hold it further down, you're gonna get a lot more power. You should be able to put that nail down with two or three hits. Look: With two swift strokes he drives the nail flush into the wood. TERRY Try it. RUDY That's not the way I hold it. TERRY Well, the way you hold it is wrong. RUDY Why can't I just do it my own way? Terry looks at him unsympathetically for a moment. TERRY (Shrugs) You can. He goes back to work. Rudy resumes hammering. After a moment he switches his grip and starts hammering Terry's way. Terry looks up and watches him. EXT. IN FRONT OF ORRIN'S HOUSE. A MOMENT LATER Sammy pulls up, fast, and gets out of the car. Hearing the hammering from the backyard, she walks quickly around the side of the house and stops short when she sees Rudy hammering happily away with Terry and Ray. She watches them working, unobserved, with mixed annoyance and relief, and finally with quiet pleasure, because it's a very cheerful sight. INT. BANK. DAY Half the staff has gone home. Sammy, in her coat, picks a NOTE up off her CHAIR. It reads: "SAMMY, PLEASE SEE ME A.S.A.P!!! -- BRIAN" INT. BRIAN'S OFFICE. A MOMENT LATER Sammy stands in front of Brian's desk. SAMMY Brian? Did you want to see me? BRIAN Yeah. I was kind of wondering what happened to you today. SAMMY Oh -- Didn't Mabel -- I had a false alarm about my son... BRIAN Yeah, I kind of thought you were gonna work that out. SAMMY Well, I did work it out -- more or less -- BRIAN Then why're you running outta here in the middle of the day without a word of explanation to me, Sammy? SAMMY Brian, don't yell at me. BRIAN I'm -- I'm not yelling. I'm just gettin' a little frustrated here. SAMMY Well Brian: BRIAN Sorry, could you close the door please? Sammy closes the door. INT. DINING ROOM. NIGHT Sammy, Terry and Rudy sit at dinner. The atmosphere is lively and cheerful. SAMMY ...And Eddy Dwyer lives in Buffalo, with his wife and two sons, if you can believe it. TERRY That is depressing. SAMMY Why? TERRY He just never struck me as the marrying type, that's all. RUDY Who are you talking about? TERRY Wild kids we used to know. RUDY Were you a wild kid? TERRY Not compared to your Mom. RUDY Yeah, right. TERRY You don't believe me? RUDY No. TERRY Ask her. RUDY Mom, were you? SAMMY No comment. Rudy is amazed. Terry looks at him like, "Told you so." INT. SAMMY'S BEDROOM. NIGHT Sammy is asleep in bed. INT. RUDY'S BEDROOM. NIGHT Rudy is asleep in bed. INT. BAR. NIGHT Terry sits at the bar, drinking beer. There are a few locals in the place, but it's pretty dead. He looks around; his energy is too restless for the near-empty bar. INT. RUDY'S BEDROOM. NIGHT The DOOR OPENS, and TERRY COMES IN, smoking a cigarette. He's plastered. He looks around the room. Looks at Rudy's toys. Picks up some superhero comics and sits on Rudy's bed. Then he spies Rudy's COMPOSITION BOOK, picks it up and starts reading it. RUDY (O.C.) What are you doing? Terry looks up. Rudy is half-sitting up in bed. TERRY Oh -- Just readin' some of your compositions. RUDY Why are you smoking? TERRY Um... Because it's bad. Don't ever do it. RUDY I won't. TERRY You know this used to be my room? RUDY Yeah... (Pause) Do you want it back? TERRY No. Rudy is very relieved. Terry keeps reading. Rudy watches him. RUDY Did you fight in Vietnam? TERRY No. I wasn't even born yet. RUDY Were you ever in the army? TERRY No. RUDY My father was in the army. TERRY I know. Unfortunately he didn't fight in Vietnam either. RUDY Were you friends with him? TERRY Not really. We had some friends in common, I guess... I didn't like him very much. RUDY Why not? TERRY Well, he wasn't very likable. RUDY Why do you say that? TERRY I don't know. He was always -- He always had to be better than you at everything. You know. Like if you were all playing basketball or something, everybody's havin' like a friendly game and he's like ready to kill somebody if his team didn't win. Or like if you told like a joke or a story, he always had to tell a better one? Kinda gets annoying after a while. Plus it was pretty scummy how he split on your mom and you... He was a prick. Probably still a prick. Fortunately for you though, your mom is like, the greatest. So you had some bad luck and you had some good luck. (Pause) You mind if I ask you a personal question? RUDY I don't know. TERRY Do you like it here? I mean, in Scottsville? RUDY Yeah...? TERRY Why? RUDY I don't know. My friends are here... I like the scenery... I don't know. TERRY I know, I know, but it's so... There's nothing to do here. RUDY Yes there is. TERRY No there isn't, man! It's narrow. It's dull. It's a dull, narrow town full of dull, narrow people who don't know anything except... what things are like right around here. They have no perspective whatsoever. No scope. They might as well be living in the nineteenth century because they have no idea what's going on, and if you try to tell 'em that, they wanna fuckin' kill you. RUDY What are you talking about? TERRY I don't know... Terry lies on his back and smokes. TERRY You're a good kid. INT. BANK -- SAMMY'S DESK. MORNING There's a NOTE on Sammy's chair. "SAMMY, PLEASE SEE ME -- BRIAN" Sammy, just arrived at work and still in her coat, looks down at the note. INT. BANK -- BRIAN'S OFFICE. DAY Sammy listens to Brian. BRIAN Yeah. This doesn't apply to you directly, Sammy, but I've noticed that some of the employees have their PC monitors set with all kinds of crazy colors... Purple and polka dots or what have you. And it's not a big deal, but really, this is a bank. You know? It's not really appropriate. So I'm just asking that people stick to a more quote unquote normal range of colors in future... Sammy looks at him blankly. BRIAN Like I say, it doesn't really apply to you. SAMMY No, my computer palette's pretty conservative. INT. BANK -- MABEL'S DESK. DAY Mabel is typing angrily at a GRAY SCREEN with BLACK LETTERS. Sammy walks by. Mabel is so mad she doesn't even look up. INT. BANK -- SAMMY'S DESK. DAY Sammy sits agitated for a moment. She makes a decision, picks up the phone and dials. INT. BOB'S OFFICE. SIMULTANEOUS Bob is in his little realty office with two CLIENTS, a husband and wife. He picks up his RINGING PHONE. BOB (Into phone) Bob Steegerson. SAMMY (On phone) What are you wearing? BOB (Into phone) Mom? Sammy LAUGHS. INT. SAMMY'S HOUSE -- DOWNSTAIRS HALL. NIGHT Terry is holding a broom looking up at the ceiling. Sammy passes by and stops. SAMMY What's up? Terry taps the broom handle against the ceiling. TERRY Do you know you have an enormous leak from the upstairs hall? He pokes again. A portion of the ceiling collapses on his head in wet chunks of plaster and muck. SAMMY Um, yeah, thanks, I did. INT. SAMMY'S ROOM. NIGHT Sammy, in front of the mirror, finishes dolling herself up for her date. O.C. we hear loud banging. Sammy puts on her earrings and goes into -- INT. HALL. CONTINUOUS SAMMY Are you guys sure you're gonna be OK? TERRY Yes. Yes. Sammy approaches RUDY and TERRY. They are bent over a big nasty trench in the floorboard. There are wood shavings and greasy pipe segments all over, and black smeary smudges on the walls nearby. SAMMY What is happening here? TERRY It's just -- The problem is that the pipe is corroded all the way along the length of the hall. So every time I put in a new piece it starts leaking further down. SAMMY Why don't I just call the plumber? TERRY Why? He's not gonna do anything different than what I'm doing. RUDY (Happily) Yeah. We're making it worse! TERRY No we're not. Shut up. Terry yanks the wrench and a SPRAY of FILTHY WATER comes out of the pipe and splatters the wallpaper and pictures and Sammy with gritty gray water. She looks at them. SAMMY Thank you. Thank you both. INT. HALLWAY. NIGHT Bob and Sammy -- cleaned up and wearing a different outfit -- are bustling out the front door. Terry stands by. SAMMY Now, call if there's any problem, and if I'm not there, I'm either on my way or on my way back home. TERRY OK. Sammy gets into her coat. Bob opens the front door. SAMMY (To TERRY) So lights out at ten... and don't spend the whole night watching TV. TERRY Nice to meet you, Bob. BOB You too. TERRY (To SAMMY) What's your idea of the whole night? SAMMY Two hours tops. Bob holds the door for Sammy and smiles at her. There is some confusion about who should go out first. Finally she goes and Bob follows. The atmosphere between them is fairly awkward. INT. SAMMY'S HOUSE. NIGHT Terry and Rudy are watching TV from the sofa. TERRY What's your feeling about Bob? RUDY I don't really know him that well. Terry looks at his watch. TERRY I have bad news for you. He picks up the remote... RUDY No...! ...and turns off the TV. They sit there in the sudden silence. RUDY Great. What are we supposed to do now? TERRY Do you know how to play pool? RUDY I've played it. EXT. THE WILD MOOSE. NIGHT The Wild Moose is a noisy roadside bar sitting under the stars. Terry and Rudy get out of the car. Rudy looks apprehensive. RUDY I don't think they let kids in there. TERRY Well, we're not allowed to watch any more TV, so it's this or nothing... But if we run into any trouble, let me do the talking. RUDY OK. Terry swings the door open. INT. THE WILD MOOSE. NIGHT POV RUDY: A lot of men and women at the bar or in booths, eating and drinking. Smoky, crowded and very loud. As he follows Terry through the crowd various patrons notice him -- some of the looks are friendly, some blank, some cold, i.e., what's a kid doing in here? AT THE POOL TABLE: Terry and Rudy stand side by side facing the players and waiting players gathered around the table. Terry waves a few bills. TERRY I got a hundred bucks here says me and my nephew can beat anybody in here. Only we gotta get the next game 'cause he's gotta be in bed by ten o'clock. A MOMENT LATER: RUDY, very nervous, and the 1st Pool Player are side by side shooting for break. Terry is behind Rudy coaching him. TERRY Just hit it nice and soft... Nice and soft. They hit the balls. Rudy just clips his ball and it doesn't go anywhere. 1st Pool Player's ball hits the opposite bank and comes almost all the way back. RUDY (To TERRY) Sorry. TERRY God damn, Rudy. I thought you said you could play. Rudy doesn't answer. Terry winks at him. A MOMENT LATER: 1ST POOL PLAYER BREAKS -- WHACK! -- The balls scatter. Nothing drops. TERRY steps up to the table, chalking up his cue. TERRY Boys, it's all over but the cryin'. QUICK CUTS: Of Terry running the table and everyone watching. Three-ball in the side. One-ball in the corner. Nine-ball off three cushions and into the corner, and the eleven-ball into the side. Rudy watches him. INT. BOB'S APARTMENT. NIGHT Bob and Sammy sit at Bob's dining room table. The little bachelor apartment looks pretty good. Tablecloth, candles, wine, everything. Bob has just dropped a huge bombshell. SAMMY Bob... Are you serious? BOB Yeah. SAMMY I... I don't know what to say. I -- BOB I mean, I know I haven't exactly been the most... decisive... guy. In the past... I don't know: I'm tired of foolin' around. And I love you. SAMMY I... I'm totally... I don't know what to say. BOB Well, you could always say "Yes." (Pause) Or you could think about it first. SAMMY That's it: I want to think about it. BOB OK... Fair enough. INT. WILD MOOSE. NIGHT Terry has sunk everything but the eight ball. He leans over to sink it. It's a fairly easy shot. He lines it up carefully, and deliberately shoots it so it stops two inches from the corner pocket. TERRY Ohhhh! A FEW MOMENTS LATER: Terry and Rudy sit side by side watching as the 2nd Pool Player passes back and forth between them and the camera, running the table. "Oohs" and "All rights" emit from the spectators. Sudden silence. Then the clack of the balls connecting. A great common GROAN goes up. RUDY looks up at Terry. TERRY It's all yours, baby. Rudy looks at the TABLE: The eight-ball is two inches off the corner. The cue ball is a few inches away from it. A piece of cake, for an adult. Rudy looks deeply unconfident. He gets up and tries to line up the eight-ball. Terry is right next to him. TERRY Just make sure to hit it really gentle. But firm. And hit it a little low so you get some backspin. Don't even hit it. Just kiss it. A long moment. RUDY What do you mean, kiss it? TERRY I mean tap it. Firm but very, very softly. And don't shoot until you know it's going in. OK? RUDY OK. Everyone is relatively quiet. Rudy takes a few practice strokes and then hits the cue ball, straight, but too softly. It crawls toward the eight and taps it toward the corner, slower and slower, hangs there, and DROPS. A GENERAL "HEYYY!" GOES UP and everyone claps and cheers. Terry grabs Rudy. Rudy smiles, ecstatic. TERRY That was great! AT THE BAR: Darryl the SHERIFF, in his civvies, drinking a pint of beer, notices Rudy and Terry. AT THE POOL TABLE: Terry picks Rudy up and turns him upside down. Rudy laughs. EXT. SAMMY'S HOUSE. NIGHT The house is dark. Terry and Rudy are walking from the car to the house. RUDY We creamed those guys! We creamed them! TERRY (Stopping suddenly) Ssh...! Don't move. They listen. A CAR is COMING. TERRY It's them! They break for the door, Terry fumbling for his key. He gets the door open. TERRY Go! Go! Go! He and Rudy run inside the house. The lights go on. BOB'S CAR pulls into the DRIVEWAY. INT. THE HOUSE -- FRONT DOOR. SIMULTANEOUS Rudy runs up the stairs. TERRY Wait a minute, gimme your jacket! Rudy tries to take his jacket off fast but gets his arm caught in the sleeve. He tries to shake it off. TERRY What are you doing? RUDY I can't get my sleeve out...! They HEAR Bob's CAR DOORS SLAM. Terry makes a comic panicked face and leaps up the stairs two at a time. OUTSIDE THE HOUSE: Sammy waves to Bob. Bob waves back as he drives off. Sammy goes to the front door, opens it: Terry and Rudy are in a giggly tangled panicked heap at the top of the stairs, shaking Rudy's arm and sleeve, frantically trying to get the jacket off. Sammy comes in. They freeze. SAMMY What is going on in here? TERRY Um -- We were just out doing some star-gazing, and, uh, Rudy lost track of the time. Which I totally warned him about. (To Rudy) You are a bad kid. INT. BATHROOM. LATER Rudy is brushing his teeth. Terry pokes his head in. TERRY (In a low voice) Hey: I think it's OK. Just don't tell her where we went, 'cause she'll be really mad at me. OK? RUDY I won't. TERRY (Suddenly dark) Hey -- I'm not kidding, Rudy. RUDY I won't! Terry gives him a "You better not" look, then leaves. Rudy continues brushing his teeth. INT. RUDY'S ROOM. NIGHT Sammy is tucking Rudy in, stroking his hair. SAMMY Did you know my Mommy used to take me and Uncle Terry out at night to look at the constellations? RUDY Yeah. SAMMY Did you see that one, what's the one -- It looks like a big "W"? Cassiopeia? RUDY Yeah. INT. HALL. NIGHT Sammy comes out of Rudy's room, smiling. It's dark. She sees a LIGHT on under TERRY'S DOOR. She walks toward it and steps into the TRENCH, falling down violently. SAMMY Ow! Shit! INT. BATHROOM. NIGHT Terry is putting a butterfly Band-Aid on Sammy's wound. It's a nasty, bloody gash, just shy of needing stitches. SAMMY I've got a great idea. Why don't you let me call the plumber? TERRY Do whatever you want. SAMMY Oh, does that make you mad? TERRY No... INT. SAMMY'S ROOM. NIGHT RAIN patters on the ROOF as Sammy LIMPS back and forth across the room changing into her nightgown. EXT. TERRY'S WINDOW. NIGHT Terry is smoking pot with his head and shoulders stuck outside the window. RAIN FALLS on his HEAD. DISSOLVE TO: EXT. BANK. MORNING Early morning. The RAIN is still falling. Only a few cars are in the employee parking lot yet. INT. BANK -- BRIAN'S OFFICE. DAY The RAIN runs down Brian's office window. BRIAN, in a wet raincoat, turns on his light. A MOMENT LATER: Brian turns on his PC. The SCREEN lights up. The COLORS are a garish GREEN and ORANGE. CUT TO: LATER: SAMMY and BRIAN are both on their feet. The door is closed. SAMMY Brian, get off my ass! BRIAN Excuse me? SAMMY I didn't change the colors on your stupid computer screen. BRIAN Well, that's all you gotta say! SAMMY (On "that's") There is nothing wrong with the work I do here. I have been doing just fine, the whole time before you came here -- And if you think that riding people in this petty, ridiculous way is the way to improve service in this bank or anywhere else I think you're out of your mind! Pause. BRIAN I didn't say there was. Could I please -- Could I please -- May I respond? SAMMY No, that's really all I have to -- BRIAN May I respond? (Beat) First of all, I don't appreciate being spoken to with that kind of language. That's not the way I talk to you, and I'd appreciate it if you wouldn't talk that way to me -- SAMMY Well -- BRIAN Second of all, if you say you didn't change the colors on my computer screen, then of course I accept your answer. But you and I are gonna have to find a way to work together -- SAMMY Brian -- BRIAN But that's not gonna happen with the attitude, it's not gonna happen with the lateness, it's not gonna happen by fighting me every step of the way -- OK, well not you, you're not late, but too much of that stuff goes on around here -- SAMMY I am not late and I do not have an attitude -- Well then don't tell me I'm late if I'm not late! BRIAN I'd really like to finish! OUTSIDE BRIAN'S OFFICE: The whole staff is listening to the muffled raised VOICES from inside the office. MABEL especially is listening guiltily. EXT. MAIN STREET. DAY The rain falls on Main Street. EXT. ORRIN'S BACKYARD. DAY The rain comes down hard on Orrin's construction project. Tarps cover everything. No work today. EXT. MAIN STREET -- LUNCH PLACE. DAY The rain comes down on the SHERIFF, looking through the restaurant WINDOW at SAMMY, eating lunch alone at the counter. He goes inside, shakes the rain off himself and goes over to her. They start talking. We HEAR: SAMMY They were where? INT. SAMMY'S HOUSE -- LIVING ROOM. DAY The RAIN on the roof makes a sleepy, pleasant country sound. TERRY is lying on the sofa, smoking a joint, watching TV, in a funk. O.C. we LOUD BANGING ON THE PIPES. LATER: A YOUNG PLUMBER, about Terry's age, comes thumping down the stairs and goes into the living room, carrying his toolbox. Terry looks up at him. PLUMBER OK, you're all set. Terry glares at him. The plumber turns and goes out. EXT. BUS STOP. DAY RUDY is WAITING in a doorway for Terry. He is wet and cold. The RAIN pours down. INT. BANK. DAY Brian is showing his wife, NANCY, the bank. He is very solicitous of her, nervously introducing her to the employees, who are not responding very warmly. Nancy is not in a warm mood either; she's very testy with Brian. BRIAN This is Chuck. Chuck, this is my wife, Nancy. CHUCK Hello. NANCY Nice to meet you. BRIAN This is Mabel... MABEL Hi. NANCY Nice to meet you. SAMMY, at her desk, watches Brian and Nancy make their progress through the bank. Nobody is being very friendly, and Brian suddenly seems awkward and vulnerable. Brian and Nancy reach Sammy's desk. BRIAN This is Sammy, our lending officer. Sammy, this is my wife, Nancy. SAMMY (Friendly) Hi. It's nice to meet you. NANCY Brian -- I gotta sit down. BRIAN Sure -- Let's go in my office. He glances nervously at Sammy as he leads Nancy away from her desk and toward his office. He murmurs something to Nancy, who responds in a low but very testy voice: NANCY I'm fine...! She roughly pulls her arm away from his. Sammy watches them go into his office. EXT. MAIN STREET. DAY Rudy trudges resolutely through the pouring rain toward the center of town. He is completely drenched. INT. BRIAN'S OFFICE. DAY Sammy knocks on Brian's open door. SAMMY Brian...? BRIAN Yeah. RUDY (O.C.) Mom! Sammy sees to her left, down the hallway -- SAMMY Rudy! Rudy is at the end of the hall, drenched and shivering, but cheerful. EXT. EMPLOYEE PARKING LOT. DAY Rudy is in the car, somewhat dried off, waiting. Sammy and Terry stand in the employee entrance doorway. SAMMY Look, I'm glad you guys are getting along so well -- like, you have no idea -- but if I can't rely on you to remember to get him once a day... TERRY You can! SAMMY -- And what are you doing taking him to play pool in the middle of the night, and then telling him to lie to me about it? Pause. TERRY I don't know. INT./EXT. SAMMY'S CAR/CAROL'S DRIVEWAY. DAY Terry and Rudy pull up in front of the driveway. Terry is in a silent rage. The rain has let up. TERRY Get out of the car. RUDY What are we doing? TERRY You're going to Carol's house and I'm going home. RUDY Why can't I come with you? TERRY Because if you're such a baby you gotta tell your Mommy about us playin' pool when I totally asked you not to, and I gotta listen to her shit all day, then you're goin' to the baby-sitter's so you can stay at the baby house. RUDY But I didn't tell her! TERRY You know what? Don't even fuckin' talk to me. RUDY I didn't! TERRY Just get out of the car. He leans over Rudy roughly and pushes open the door. Rudy gets out of the car and marches down the long driveway. He bursts into tears. Terry watches him go, then drives off. INT. BANK -- HALL. A FEW MOMENTS LATER Sammy walks through the empty bank hall and into Brian's office. Brian is at his desk. BRIAN You're working late. SAMMY How did your wife like the bank? BRIAN Oh, fine. She wasn't feeling so great. SAMMY That's too bad. BRIAN No -- I don't mean -- She's not ill. She's just... I don't know... SAMMY Pregnant? BRIAN That's it. She's pregnant. SAMMY It can make you kind of cranky. BRIAN Yeah... Pause. BRIAN Listen, I'm sorry we've been stepping on each other's toes -- I -- I'm not actually that bad a guy -- SAMMY Yeah, I am too... I know you're not, Brian, but you're driving everybody crazy. BRIAN Well, I -- I'm just trying to do my best here -- And I'm gettin' it from all sides. SAMMY I know you are... BRIAN Anyway... We'll work it out... SAMMY Well... I could use a beer. BRIAN I could use a tranquilizer. INT. PUB. NIGHT Brian and Sammy sit at a table in the corner of the dimly lit pub. It's a medium noisy place with various locals drinking beers and eating hamburgers and chicken dinners. SAMMY Last I heard, Rudy's Dad was living over in Auburn. But that was last year. BRIAN Must be so tough raising a kid on your own... Although I'm beginning to get the idea my wife wouldn't mind a crack at it. SAMMY Oh... It's just the hormones. BRIAN Well, no, it isn't. But never mind. The waitress brings them two boilermakers. SAMMY and BRIAN Thanks. She leaves. Sammy and Brian pick up their shots. BRIAN Well, here's to improved employee- management relations. SAMMY Amen. They click shot glasses and drink. SAMMY You can't judge all of Scottsville by the people in that bank, believe me. BRIAN Well -- Let's -- Let's not talk about the bank. SAMMY OK. BRIAN Let's just forget about the bank for tonight. SAMMY Good idea. They sip their drinks, smiling. Sammy looks at him appraisingly. INT./EXT. BRIAN'S CAR/WOODED ROAD. NIGHT Sammy and Brian are making out in the front seat of his car. This goes on for a while, getting heavier and heavier. BRIAN Sammy? SAMMY Yeah? BRIAN I want you to tell me who changed the colors on my computer screen. SAMMY I'll never tell. They start kissing again in the cramped space. Brian bangs his head. They laugh. EXT. OUTSIDE THE CAR. CONTINUOUS We pull back and away from the car. The sodden trees spout faucets of water down on the car. INT. KITCHEN. NIGHT The kitchen is dark. Sammy comes in, her hair a little wet, and turns on the light. She goes to the telephone. There's a NOTE in Terry's handwriting: "BOB CALLED." TERRY (O.C.) Where were you? Sammy jumps, startled. Terry is in the kitchen doorway. SAMMY Nowhere. I had dinner with my boss. TERRY Kind of a late dinner, ain't it? SAMMY Yeah. How was Rudy? TERRY Fine. SAMMY Did the plumber come? TERRY Yes, the fucking plumber came. SAMMY Terry -- Give me a break!!! Pause. TERRY What's the matter with you? SAMMY Nothing. I'm just tired. TERRY You want to smoke some pot? SAMMY No I don't. Why, you got some? EXT. PORCH. NIGHT Sammy and Terry stand side by side on the porch, passing a joint back and forth. It has stopped raining but the trees and roof are still dripping. The crickets are chirping loudly. SAMMY So... Bob asked me to marry him. TERRY Wow. (Pause) Are you going to? SAMMY I don't know. If he'd've asked me this time last year I would have probably said yes. But the minute he said it, I don't know, I felt like somebody was trying to strangle me. TERRY Well... bad sign. SAMMY I know. (Pause) Plus, Terry... (Whispers) I fucked my boss...! TERRY What? SAMMY I know! And his wife is six months pregnant. TERRY Jesus Christ, Sammy...! SAMMY I know, I know. He passes her the joint. She declines. He puffs away. The water drips off the porch and the crickets chirp. She puts her head on his shoulder. He puts one arm around her and puffs away with the joint in his free hand. SAMMY Terry, I'm sorry I got so mad before. I just don't want him, you know -- terrified of "telling," if there's -- TERRY Uh, well, that's not really his problem, Sammy. Sammy straightens up. SAMMY Oh really? What's his problem? TERRY His problem is that he's like totally sheltered because you treat him like he's three, instead of eight, so that's how he behaves. SAMMY Oh yeah? And how do you think he should behave? TERRY I think he shouldn't have to run and tell his Mommy every time he does something she might not like, for one thing. SAMMY Uh huh. And what do you -- TERRY (On "and") I mean I took him to play pool! It was a little clandestine thing we did for fun! It wasn't like a big secret, I mean who cares? I was actually trying to be nice to him. But he's so freaked out that he disobeyed your orders that he has to fuckin' squeal on me and I have to listen to your fuckin' shit all day when I didn't even fuckin' do anything! SAMMY First of all, he didn't tell me anything: Darryl did. OK? Second of all, I don't really give a shit if you took him to play pool: I was mad at you because you left him standing at the bus stop in the rain. But no, I don't want you telling him not to squeal, because I don't want him put in that position! TERRY (Losing ground) Well... that... is a perfect example of what I'm talking about. SAMMY You are in idiot. They stand apart now. Silence. TERRY Darryl told you? SAMMY Yes! They stand there. The rain gutters drip. INT. BANK. MORNING Sammy, coat on, arrives at her desk and puts her purse down. There's a NOTE on her CHAIR. "SAMMY -- PLEASE SEE ME." INT. BANK -- HALLWAY. A MOMENT LATER TRACKING SAMMY, coat off, carrying a stack of folders, as she walks from her desk, around the corner, down the hall, past a couple of employees and to BRIAN'S OPEN DOOR. She taps on it. Brian is at his desk. SAMMY Morning. BRIAN Yeah, good morning. Could you get the door? OUTSIDE THE OFFICE: Sammy shuts the door. MABEL and DORIS, standing near the door, look at each other: i.e., Sammy's in trouble again. INSIDE THE OFFICE: Sammy stands by the closed door. Brian comes out around his desk. SAMMY Listen -- I just -- Brian kisses her. She drops her folders and they make out against the door. OUTSIDE THE OFFICE: The employees click away at their PCs. Mabel exchanges a quiet word with Chuck. INSIDE THE OFFICE: Brian has Sammy pressed against the wall with her skirt hiked up and is trying to get both of their underwear out of the way. It's not so easy in their office clothes. Sammy tears away. SAMMY Brian, that's enough. BRIAN falls back, breathless. BRIAN OK. Sorry. He lunges at her again. They kiss some more. OUTSIDE THE OFFICE. A MOMENT LATER: Sammy comes out of the office, more or less composed, carrying her folders. She heads down the hall past the other employees, including Mabel, and surreptitiously readjusts her scrunched-up underwear. INT. DAWSON'S. DAY Sammy and Bob sit at lunch. Sammy is picking at her food. BOB You're awfully quiet. SAMMY I'm sorry. BOB Um... Have you thought at all about what I said? SAMMY Of course I've been thinking about it. BOB So... Any decisions? Or -- do you still want to think about it some more...? SAMMY Well -- I mean -- I don't know, Bob. I mean, we haven't exactly been going steady the last few months, if you know what I mean -- BOB Yeah, no, I know -- SAMMY -- and then we see each other twice and you suddenly say you want to get married? I mean... BOB No, you're right, you're right -- SAMMY What are you talking about? Pause. BOB I don't know... I... Maybe this is... Last year I sort of thought you were possibly interested in that... idea... but I was the one who, you know, wasn't "ready" at that point -- So that's why I thought things kind of slowed down with us... SAMMY Don't make me feel bad for you. BOB (Bristling) I don't want you to feel bad for me. INT. LIVING ROOM. NIGHT Sammy, Terry and Rudy are all watching TV. Sammy and Rudy are in pajamas. Nobody's happy and nobody's talking. The PHONE RINGS. Sammy goes to it and picks up, surprised because of the hour. SAMMY (Into phone) Hello? BRIAN (On phone) It's Brian. Sammy turns away and lowers her voice so Terry and Rudy won't overhear her. SAMMY Brian. Where are you? EXT. GAS STATION. SIMULTANEOUS Brian is on the pay phone outside a gas station. BRIAN I'm buying milk. I just thought I'd say hello. WE CUT BETWEEN THEM. Sammy doesn't say anything. BRIAN Look, I know it's probably too late, but is there any way you can come out for a little while? SAMMY Brian, I think you're going crazy. BRIAN I know I am. Can you meet me? SAMMY Um, OK. INT. LIVING ROOM. NIGHT SAMMY comes down the stairs, fully dressed, into the living room, where Terry and Rudy are still watching TV. SAMMY Um -- I have to go out for a minute. Do you want anything? TERRY Like what? SAMMY I don't know. RUDY Where are you going? TERRY Yeah, where are you going? SAMMY I just have to go out for a little while. RUDY Where? TERRY Yeah, where? SAMMY I just have to go to Mabel's house. RUDY Why? SAMMY You know what, Rudy? It's personal. This is a personal matter that has to do with Mabel. I just have to go see her for a little while. Terry gives Sammy a look like, "You've got to be kidding." Sammy tries to shush him with a conspiratorial look back. She goes out. LATER. Terry and Rudy sit in front of the TV, alone. TERRY Listen. Listen. I'm sorry I said you squealed on me. I was totally out of line, and I really owe you an apology. (Pause) Did you hear what I said? RUDY (Staring at the TV) I don't care. INT. SAMMY'S CAR (MOVING). NIGHT Sammy drives, listening to music. She shakes her head at herself. EXT. MOTEL. NIGHT Sammy's car and Brian's car are parked side by side outside a roadside motel. INT. MOTEL ROOM. NIGHT In the motel room, Sammy and Brian, half-clothed, make love rather hurriedly on top of the unmade creaky bed. EXT. MOTEL. NIGHT Outside the motel, Sammy and Brian get into their respective cars and start their motors. INT. SAMMY'S CAR (MOVING). NIGHT Sammy drives in the other direction. She breaks into a smile, and then she laughs. Then she stops. INT. SAMMY'S BEDROOM. NIGHT Sammy lies awake plagued by guilty feelings. EXT. CHURCH -- RECTORY. DAY Sammy heads toward the little white church building. INT. CHURCH -- RECTORY -- OFFICE. DAY RON the MINISTER and Sammy drink coffee in silence. RON (Gently) What's on your mind, Sammy? SAMMY Well, a lot. But principally... I was just wondering if you had an opinion. If you know someone, in your family, or just someone you really care about, and they just can't seem to get ahold of themselves... EXT. MAIN STREET. DAY The SUN SHINES on Main Street. INT. SPORTING GOODS STORE. DAY Rudy watches wide-eyed as Terry places on the sales counter two rods and reels, a bunch of lures, two fishing hats, a box of swivels, a knife and a fish scaler. TERRY You know who this is for? RUDY Me! TERRY That's right, my little friend. (To the saleslady) Hello. We're going fishing. INT. SAMMY'S HOUSE -- KITCHEN. DAY Sammy, Terry and Rudy are all putting away the groceries. Everybody seems to be getting along. RUDY I got a new rod and reel, five lures, I got a hat, I got a knife and I got a fish scaler. SAMMY That's great, honey. O.C., the DOORBELL RINGS. Sammy starts to move toward the door, but Terry is closer. TERRY I'll get it. Sammy watches him go. INT./EXT. FRONT DOOR. DAY Terry opens the door. It's Ron, the minister, in his civvies. EXT. FRONT YARD. DAY Rudy is playing basketball by himself. INT. SAMMY'S HOUSE -- LIVING ROOM. DAY Terry, Sammy and RON sit in the living room. Sammy and Ron are drinking coffee. Through the window we see occasional glimpses of Rudy playing basketball in the backyard. There is a heavy silence in the room. TERRY Well... I'm not really sure why you're here, Ron. I mean, I realize I haven't exactly been a model citizen since I got here, but compared to how things have been goin' for me lately, I thought I was doing pretty well. He turns to Sammy. TERRY And I also find it kind of discouraging that you seem to think I need some kind of spiritual counseling or what have you, so much so that you're willing to disregard the fact that I don't believe in any of this stuff at all -- SAMMY Well... I didn't mean to discourage you -- TERRY I mean it's really kind of insulting. RON Can I say something here? (Pause) Sammy asked me to come and talk to you, because it's her opinion that you're not gonna find what you're looking for the way you're looking for it -- TERRY How would she know? RON But I'm really not here to try to get you to do anything, or to believe anything. And I'll tell you the same thing I told her, which is that as far as I'm concerned the only way she can help you is by her example -- by trying to be a model for you, by the way she lives her life... Terry smiles. RON And that doesn't mean she's supposed to be a saint, either, if that's what you're smiling about. TERRY I didn't realize I was smiling. A moment. RON You know, Terry, a lot of people come to see me with all kinds of problems. Drugs, alcohol, marital problems, sexual problems, health problems -- TERRY Great job you got. RON Well... I like it. Because even in this little town, I feel like what I do is very connected with the real center of people's lives. I'm not saying I'm always Mr. Effective, but I don't feel like my life is off to the side of what's important. You know? I don't feel my happiness and comfort are based on closing my eyes to trouble within myself or trouble in other people. I don't feel like a negligible little scrap, floating around in some kind of empty void, with no sense of connectedness to anything around me except by virtue of whatever little philosophies I can scrape together on my own... TERRY Well -- RON Can I ask you, Terry: Do you think your life is important? TERRY You mean -- Like, me personally, my individual life? RON Yeah. TERRY Well... I'm not sure -- What do you mean? It's important to me. I guess. And like, to my, you know, the people who care about me... RON But do you think it's important? TERRY I -- RON Do you think it's important in the scheme of things? Not just because it's yours, or because you're somebody's brother. Because I don't really get the impression that you do. TERRY Well, I don't think... I don't particularly think anybody's life has any particular importance besides whatever -- you know -- whatever we arbitrarily give it. Which is fine. I mean we might as well... I think I'm as important as anybody else... Silence. TERRY I don't know: A lot of what you're saying has a real appeal to me, Ron. A lot of the stuff they told us when we were kids... But I don't want to believe something or not believe it because I might feel bad. I want to believe it because I think it's true or not... I'd like to think that my life is important... Or that it's connected to something important... RON Well, isn't there any way for you to believe that without calling it God, or religion, or whatever term it is you object to? TERRY Yes. I believe that. INT. DINING ROOM. NIGHT Sammy, Terry and Rudy are all eating dinner. Terry is drinking a beer. His mood is dark. TERRY So Sammy, what example will you be setting for us tonight? Sammy doesn't answer. INT. LIVING ROOM. NIGHT Terry, Sammy and Rudy are watching TV. Terry has another beer. RUDY What time are we getting up to go fishing? TERRY We're not going fishing. SAMMY What do you mean? RUDY Why not? TERRY I think you should go fishing with Father Ron. RUDY I don't want to go fishing with Father Ron. TERRY Well, I'm not takin' you. Sammy starts to say something to Terry, stops herself. SAMMY I'll take you, sweetie. Rudy doesn't answer. INT. HALLWAY. NIGHT Sammy and Terry are in the hallway. Sammy holds a stack of folded sheets. SAMMY I realize that you're mad at me -- TERRY (Deadpan) I'm not mad at you... SAMMY -- but he didn't do anything to you. And you cannot promise a little boy that you're gonna -- TERRY (On "boy") ...I just, you know, after all that religious conversation, I just realized it's probably not so good for him to be spending so much time with someone like me who doesn't believe his life is important in the scheme of things -- SAMMY Would you please... TERRY I'm serious. SAMMY (Practically choking) Listen. (Pause) I am sure, if you put your mind to it, you can think of some other way of getting back at me besides this. So would you please just give it some thought, and take him fishing tomorrow? TERRY I would, Sammy, I just don't think it'd be good for him. Pause. SAMMY You suck. She throws the sheets at him and storms away. Terry walks through the living room and OUT the front door, SLAMMING it behind him. INT. SAMMY'S ROOM. NIGHT Sammy sits by the phone in her bathrobe. She picks it up and DIALS. INTERCUT: BRIAN'S LIVING ROOM. NANCY, watching TV on the sofa with Brian, picks up the RINGING PHONE. NANCY (Into the phone) Hello? SAMMY HANGS UP. She gets up, walks around, sits down again. Picks up the phone and DIALS. It RINGS. INTERCUT: BOB'S KITCHENETTE. Bob, making a sandwich for himself, picks up the phone. BOB (Into the phone) Hello? SAMMY HANGS UP. Pause. She sweeps the TELEPHONE and ANSWERING MACHINE OFF the nightstand. Pause. She calms down and puts them back. The ancient answering machine is CLICKING convulsively. She WHACKS IT and it stops. EXT. CHURCH. DAY The congregation is coming out of the church and milling around at the steps. SAMMY, with Rudy at her side, is saying good-bye to some neighbors. She watches pregnant NANCY and BRIAN go down the steps. POV SAMMY: Beyond Brian and Nancy, TERRY pulls up at the curb in her car. He rummages around and produces FISHING RODS which he waves, somewhat sheepishly. REVERSE: At top speed, Rudy runs away from Sammy and the church, toward Terry and the car. Terry and Sammy exchange a look from the distance. EXT. RECTORY. DAY Services are over. Everyone has gone home. INT. RON'S OFFICE. LATER Sammy sits with Ron. SAMMY Anyway... I don't know what the church's position is on adultery and fornication these days, but I felt really hypocritical not saying anything to you about it before, so... What is the official position on that stuff these days? RON Well... it's a sin. SAMMY Good: I think it should be. RON ...but we don't tend to focus on that aspect of it, right off the bat -- SAMMY Why not? RON Well -- SAMMY I think you should. RON Well -- SAMMY Maybe it was better when you came in and they screamed at you for having sex with your married boss, and were really mean to you, and told you what a terrible thing it was. Maybe it'd be better if you told me how I'm endangering my immortal soul, and if I don't quit I'm going to burn in hell. Don't you ever think that? RON Um... No. SAMMY Well, it's a lot better than all this "Why do you think you're in this situation" psychological bullshit you hear all the time. RON Well... Why do you think you're in this situation? SAMMY With which one? RON All of them. Pause. SAMMY I feel sorry for them. (Pause) Isn't that ridiculous? Ron shrugs: i.e., "not necessarily." EXT. STREAM -- BRIDGE. DAY Terry and Rudy are side by side on a small footbridge over a wide running stream, fishing. The sunlight slants through the canopy of trees; the birds are chattering; it's gorgeous and peaceful. RUDY I've never been so bored in my life. TERRY Yeah... We really shoulda been out here around seven or eight A.M. RUDY What time is it now? TERRY Two-thirty. Silence. The birds sing. RUDY Was my father a good fisherman? TERRY Yeah, your father was good at all that stuff. He knew everything about the woods, everything about fishing, everything about hunting and everything about cars. If he wasn't such a pain in the ass he would've been a lot of fun to be around. RUDY Maybe he's nicer now. TERRY I doubt it. RUDY Well, I think he is. TERRY How would you know? Did you ever meet him? RUDY No. TERRY Were you ever curious to meet him? RUDY I guess so. TERRY Well, he doesn't live very far from here. RUDY I thought he lived in Alaska. TERRY No -- I lived in Alaska. Your dad lives in Auburn. Far as I know. (Pause) We could look him up in the phone book. Wanna try? RUDY All right. TERRY OK -- But -- I'm sure I don't have to say this, but I'm not kidding, man: Don't -- tell -- your -- mother. INT. BOB'S APARTMENT. DAY BOB is standing by his kitchenette, extremely nervous. Sammy sits on his sofa. BOB Do you want to go for a walk, or a drive? It's really nice out. SAMMY No. I'm not gonna stay long. Bob, I don't want to get married. Pause. BOB OK. SAMMY I've really thought about it a lot, and if you had asked me last year I'm sure I would have said yes. BOB Oh. Thank you. SAMMY But I'm not sure it would have been a good idea then either. I'm going through a really hard time right now and I just think that getting engaged to you or anyone would be just about the stupidest most self-destructive thing I could possibly do. BOB OK. SAMMY And I really think you have to grow up. BOB Well, how about we fix up my personality some other time? SAMMY OK. (Pause) I really hope we can still be friends. BOB (Quietly sarcastic) Oh, yes, me too. She looks at him miserably. SAMMY Bob... This is so crazy... I mean... I don't even understand why you... I don't even get it. BOB What do you want me to say? Everything you said about me was true, Sammy. I was just a big chickenshit jerk, and now I'm payin' the price. SAMMY Bob...! She goes over to him. He gets up. BOB What? SAMMY Well -- I don't know... BOB I don't know. Sammy, I love you. I wish I could say it in a more interesting way. I just -- I love you. SAMMY Well -- I mean -- I love you too -- He puts his arms around her and kisses her. She responds very warmly. Just as things are heating up, she suddenly remembers something and jolts away. SAMMY Oh shit. BOB What's the matter? SAMMY I gotta go. I'm sorry -- BOB Where do you have to go? SAMMY (Off the top of her head) I'm supposed to -- I gotta get Mabel back her car. BOB Well... I don't understand. How are we leaving things? SAMMY Oh God, I don't know. Call me later. INT. MOTEL. DAY Brian sits on the edge of one of the beds watching some daytime Sunday show on the motel TV. There is a knock at the door. He gets up, turns off the TV and opens the door. It's Sammy. SAMMY Sorry I'm so late. BRIAN Yeah, I was just about to give up on you. SAMMY Well -- maybe it would've been better if you had... She comes into the room and starts walking around briskly and nervously. SAMMY I mean -- Look, I don't mean to be unsympathetic about your domestic situation, whatever it is, but I'm just beginning to think that if people tried a little harder to stick to their commitments and started taking a little responsibility for their actions, they might end up having a lot less trouble generally. That's all. BRIAN Hey, that's what I've been trying to tell you guys at the bank. SAMMY Well, I really don't think I can do this anymore. BRIAN OK. INT. MOTEL ROOM. LATER Brian and Sammy lie under the starchy sheets. Brian's eyes are shut. Sammy is very upset with herself. SAMMY This is incredible. BRIAN Mmmm. SAMMY That is not what I mean. INT. SAMMY'S CAR (MOVING). DAY Terry and Rudy drive along. Terry looks down at Rudy and smiles. Rudy is tense and won't look at him. OVER TERRY AND RUDY'S SHOULDERS as Terry drives slowly past dilapidated little houses in a very depressed residential area. Terry is scanning the house numbers. RUDY Maybe we should call first. TERRY Well -- We're right here. He pulls up outside a small, plain, run-down ranch-style house with a lot of junk out front, and gets out of the car. Rudy stays in. TERRY Come on. Rudy gets out of the car and comes around. Terry waits for him, and then they walk up to the front door. The buzzer says "KOLINSKI." TERRY There he is. RUDY His last name is Kolinski? TERRY Yeah. Ring the bell. Rudy pushes the doorbell. They wait. There's some noise inside and some voices. The sound of WALKING. THE DOOR OPENS. JANIE, a tired-looking young woman around Terry's age, opens the door. JANIE Yes? TERRY Hi. We're looking for Rudy? JANIE Who should I say is calling? TERRY An old friend. RUDY SR. (O.C.) Who is it? JANIE He says an old friend! RUDY SR. (O.C.) How old is he? RUDY SR. appears behind Janie. He's around thirty, wiry, dressed in jeans and an old shirt. He doesn't look good. He recognizes Terry. RUDY SR. Hey! TERRY Hey, Rudy. Rudy Sr. sees Rudy, who is looking up at him. His face falls. RUDY SR. Hey. Rudy doesn't answer. TERRY (To JANIE) Hi, I'm Terry. JANIE Hello. TERRY And this is Rudy. JANIE You don't say. TERRY Rudy, meet Rudy. Rudy Sr. looks away, shaking his head. JANIE moves away from the door. JANIE I'll just be in the kitchen. TERRY Nice to meet you. Janie goes into the kitchen. Rudy Sr. watches her go. TERRY OK if we come in for a minute? RUDY SR. What the hell are you doin'? TERRY What do you mean what am I doin' -- Rudy Sr. starts walking toward Terry to make him go back out the door. RUDY SR. Could you step away from the door please? TERRY Well we just wanna -- RUDY SR. Could you step away from the door please? TERRY All right, all right. They all go outside. Rudy Sr. pulls the door closed behind him. RUDY SR. What are you doin' here? TERRY I just wanted the kid to see you -- RUDY SR. Well, now he saw me. (He looks at Rudy) Now you saw me. OK? (To Terry) Now would you mind? TERRY Man, you are really -- RUDY SR. Look: I'm tryin' to be polite. So would you just take off? It's OK: Just take off. TERRY I just wanna -- RUDY SR. Do you know what you're doin'? Just get outta here! TERRY You know what, man? You're still a fuckin' asshole. RUDY SR. I'm an asshole? Get outta here! Rudy Sr. shoves Terry. Terry belts him, and suddenly they are throwing wild punches at each other. Rudy goes sprawling in the dirt. Terry knocks Rudy Sr. down and starts pummeling him brutally. Janie comes out of the house and jumps on his back, trying to pull him off. JANIE Get your fuckin' hands off him...! Terry throws Janie off him, grabs Rudy Sr. again and resumes beating him up. Janie jumps back on top of him. Two neighbors run toward the melee to break it up. CUT TO: A FEW MOMENTS LATER: The cops have arrived. The 1ST COP is talking to Rudy and Janie. The 2ND COP is talking to Terry. Rudy Sr.'s face looks puffy and beaten up. A 3RD COP stands apart with Rudy, who is watching the whole thing. WE CUT rapidly and jerkily through this section: 1ST COP And you're not the boy's legal guardian? RUDY SR. I don't even know if that's my kid! JANIE They just showed up! We never seen them before... RUDY SR. I used to know his sister -- TERRY I just came down here to talk to the guy and all of a sudden he starts shovin' me! 2ND COP Listen up. Listen up. You're gonna have to step back and just calm down -- TERRY (To RUDY SR.) You're a lyin' fuckin' piece of shit. 2ND COP (To TERRY) You're gonna have to step back. JANIE We have a right to protect ourselves. What else do you need to know? A MOMENT LATER: The 2ND COP puts handcuffs on Terry. Rudy watches. 2ND COP Now give me your right hand... TERRY This is such bullshit. He started the whole thing and you're arresting me? 2ND COP Listen up. Now -- Listen up! Stop talkin'. Terry, stop talkin'. CUT TO: A MOMENT LATER: As the 3RD COP walks Rudy to one cop car, Rudy watches the 2ND COP guide the HANDCUFFED TERRY into the other car. Rudy gets in the back of the car and looks out at RUDY SR. and JANIE talking to the 1ST COP. Rudy Sr. is looking at him over the 1st cop's shoulder. 2ND COP -- idea where we might be able to contact his mother? RUDY SR. No, because he's not my Goddamn kid. The cop cars' doors slam first on Terry and then on Rudy. INT. MOTEL ROOM. NIGHT The room is dark. Sammy and Brian are asleep, half under the covers. SAMMY WAKES with a START. SAMMY What time is it? BRIAN (Startled awake) What's the matter? Sammy looks at the clock radio. 9:20. SAMMY Oh my gosh. A FEW MOMENTS LATER: Sammy and Brian are on opposite sides of the bed, getting dressed. BRIAN Hey, you know, Nancy's gonna be gone for the rest of the week... SAMMY You know... Brian... BRIAN Yeah? SAMMY Well, I don't want to... I mean, couldn't we just... I mean, could we give it a rest? Pause. BRIAN Um -- Yeah. Sure. If you want to. SAMMY I mean... I just think... I don't know: We had a great little fling. You know? Let's not push it. (Pause) I mean, is that OK? I just -- BRIAN Yeah. Sure. OK. You're right. Pause. SAMMY So are we still friends? BRIAN (Nods tersely) Mm hm. Sure. SAMMY All right. Good...! EXT. SAMMY'S HOUSE. NIGHT The crickets are chattering. The phone is ringing inside the house. INT. SAMMY'S BEDROOM. SIMULTANEOUS The PHONE is ringing on the NIGHTSTAND. The battered answering machine CLICKS convulsively but does not pick up. INT. SAMMY'S KITCHEN. NIGHT Sammy is on the phone in her bathrobe. SAMMY Around two o'clock this afternoon... Yeah, a ninety three Toyota Tercel. New York plates V127AC... Please. INT. SAMMY'S HOUSE -- FRONT DOOR. NIGHT Sammy, dressed now, opens the door for BOB. She is very anxious. SAMMY Thanks for coming over. I just want to have a car handy just in case. BOB No problem. INT. KITCHEN. NIGHT Sammy is on the phone. Bob sits at the table. SAMMY (Into the phone) Well -- what about other towns?... Yes! Yes! I called the highway patrol four times... Well what am I supposed to do all night? INT. SAMMY'S LIVING ROOM. LATER Sammy and Bob sit silently in the living room, waiting. She is smoking. The CLOCK READS 12:40. Sammy is going crazy with anxiety. EXT. SAMMY'S HOUSE. MORNING The PHONE rings inside the house as the early morning sun slants through the trees around the house. INT. LIVING ROOM. SIMULTANEOUS The RINGING PHONE wakes BOB, on the sofa in his clothes -- INT. SAMMY'S BEDROOM. SIMULTANEOUS -- and Sammy, half asleep on top of her bed, also in her clothes. She GRABS the PHONE. SAMMY (Into phone) Hello? INT. BOB'S CAR (MOVING). DAY Bob drives Sammy along the highway. She stares out the window. She turns and watches Bob drive for a long moment. INT. BANK. DAY Brian walks through the morning bank activity and stops at Mabel's desk. BRIAN Anyone hear from Sammy this morning? MABEL I didn't. BRIAN Uh huh. Well, if anyone ever hears from her ever again, will you let me know? MABEL Yes. EXT. AUBURN POLICE STATION. DAY On the steps of the police station, Sammy, Rudy and Bob wait as Sheriff Darryl shakes hands with the Auburn Sheriff. The Auburn Sheriff goes inside. Darryl comes over to Sammy. SHERIFF It's gonna be all right... We got on the phone and talked to Rudy Sr. a little bit and he's calmed down, just wants to forget about the whole thing... SAMMY Darryl, I really appreciate this... The Sheriff nods, but he's not thrilled to be here. INT. SAMMY'S LIVING ROOM. DUSK The PHONE IS RINGING. Sammy comes in the front door, Terry and Rudy behind her. She snaps on the lights, hurries to the phone and picks up. Behind her, Rudy goes upstairs and Terry plunks down on the sofa and turns on the TV. SAMMY Hello? INTERCUT WITH BRIAN, AT THE BANK. BRIAN Yeah, it's Brian. SAMMY Brian -- BRIAN What the hell happened to you today, lady? SAMMY is about to answer, but she just HANGS UP instead. BRIAN is stunned into sheer gaping fury. Feverishly he hangs up and dials again. It RINGS. Sammy picks up. SAMMY Hello? BRIAN You're fired! SAMMY GOOD! She hangs up again. INT. RUDY'S ROOM. NIGHT Sammy is tucking Rudy into bed. SAMMY Rudy? RUDY Yeah? SAMMY Is there anything you want to ask me, about your father? RUDY Oh, that wasn't my father. SAMMY What? RUDY That wasn't him. I heard him tell the cops. SAMMY No -- Rudy -- that was him. But that was him. I wish it wasn't, but it was. RUDY (Very quiet) No it wasn't. SAMMY Rudy. Yes it was. Your father's name is Rudy Kolinski. He lives in Auburn... INT. HALLWAY. NIGHT Sammy comes out of Rudy's room, shutting the door softly. We HEAR the TV going downstairs. She stands at the top of the stairs for a moment. INT. LIVING ROOM. NIGHT Terry is watching TV on the sofa with his feet up on the coffee table. Sammy comes down the stairs and into the living room. He keeps watching TV. She doesn't sit. She is trembling. SAMMY Could you turn that off for a minute please? He turns off the TV. TERRY You don't have to say anything, Sammy. SAMMY I want you to leave. Terry looks at her. TERRY What do you mean? SAMMY I mean I don't think you should live here anymore. I don't think you know how to behave around an eight-year- old and I don't know how to make you stop, so I think you shouldn't live here. I don't know what else to say. TERRY I don't know how to behave around an eight-year-old? SAMMY That's right -- TERRY I think you don't know how to behave around an eight-year-old. SAMMY Are you out of your MIND!?! Silence. SAMMY Now you just listen to me. I may not be the greatest mother in the world, but I'm doing the best I know how. And he doesn't need you to rub his face in shit because you think it's good for him. He's going to find out the world is a horrible place and that people suck soon enough, and without any help from you. Believe me! Sammy tries to get ahold of herself. Her voice is shaking. SAMMY I think you should get your own place. I thought, if you want, you could -- I'll be glad to help you out financially -- TERRY What do you mean, Get my own place? SAMMY I mean I -- TERRY You mean in Scottsville? SAMMY Yes. TERRY Why would I do that? Why don't I just leave, period? SAMMY (Quietly) Well... If that's what you want to do, that's fine. But that's not what I'm saying. You are a very important person to Rudy, and you are the most important person to me. But I'm saying that I can't take any more of this -- TERRY Well -- SAMMY -- I thought -- maybe you could sell your half of the house to me, and I could pay you whatever it is over a certain amount of time, and that way -- TERRY No, you know what? I'll just go. He turns the TV back on. SAMMY (Very quietly) Well -- that's not what I'm saying. Terry shrugs and watches TV. INT. TERRY'S ROOM. NIGHT Terry is packing his bag. Rudy is watching. RUDY Where are you going? TERRY I don't know. I just want to get out of this town. And if you've got any sense when you get old enough you'll get out of here too. Your Mom's gonna live in this town for the rest of her life, and you know why? Because she thinks she has to. Don't ask me why, but that's the truth. She thinks there's all these things she has to do, but you want to know one thing about your Mom? She's a bigger fuck- up than I ever was. I mean, I know I messed up. You think I enjoy getting thrown in jail because I wanted you to face that prick your Dad like a little man and see what kind of a guy he is? I know I got a little carried away, and I lost my temper just a little bit -- which is not the end of the world either, by the way, just for future reference --And now she's kickin' me out of my own house because -- you know, because I fucked up a little bit. Which I totally admit. I was like -- totally ready to admit that. He is finished stuffing his clothes into his backpack. RUDY I could go with you. TERRY Well, thanks, man. But I, uh, I can't really take care of you. INT. LIVING ROOM. NIGHT Sammy is flipping channels on the TV. The DOORBELL RINGS. She is surprised. She gets up. Terry comes thundering down the stairs, carrying his backpack. SAMMY Is that for you? TERRY Yeah, I'm just gonna stay at Ray's till I take off. SAMMY You don't have to do that. TERRY Yeah. Well, that's what I wanna do, so -- SAMMY Well but -- Are you gonna come back to say good-bye? TERRY No -- I'm just gonna take off. I'll see you later. SAMMY Well -- Terry opens the door. RAY is there. Terry closes the door behind him. Sammy listens to the PICKUP TRUCK DRIVE OFF. The sound FADES. INT. RAY'S HOUSE. NIGHT Terry is bunked down on Ray's horrible sofa. In the b.g., there is a light on in the bedroom. Terry fluffs his pillow and shuts his eyes. EXT. SAMMY'S HOUSE. DAY Dressed for work and school, Sammy and Rudy walk to the car. SAMMY Look. I know you're upset about Uncle Terry leaving, and so am I. But he's just not in control of himself, and I don't want him hurting your feelings anymore -- or mine. And you may not like it, but that's how it's gotta be. OK? RUDY I don't care. SAMMY You don't care. I don't care either. INT. BRIAN'S OFFICE. DAY Sammy sits in front of Brian's desk. BRIAN Well... I'm sorry you're havin' all this trouble... SAMMY Thank you. BRIAN But you made a pretty good speech to me yesterday about people sticking to their commitments... SAMMY Yeah...? BRIAN Well... you made a commitment to this bank, Sammy. To this job. SAMMY I know I'd -- BRIAN And to working things out with this tough new son of a bitch boss of yours. And whatever might have passed between us after hours doesn't mean you just walk away from that commitment -- yeah, even when you have a legitimate family emergency. SAMMY I'm really sorry I didn't -- BRIAN Which is why I think in the calm cold light of day, we should both think real hard about whether or not you really want to continue on here at Merchants National Trust. SAMMY You're not serious. BRIAN ...you're not happy, I'm not happy, it's not good for you and it sure as heck isn't good for the bank. Pause. SAMMY You know you're the worst manager we've ever had? BRIAN Come on, Sammy... SAMMY By far the worst. BRIAN ...I don't wanna trade insults with you. SAMMY Well, I don't want to be fired, Brian. I've been working here for seven years. BRIAN Well -- SAMMY And if I were you I'd be a little nervous about firing an employee I just had an affair with. OK? BRIAN That's -- Don't threaten me, Sammy: I'm not threatening you. I -- It's just an area I think we should explore. SAMMY I'm not thr -- You explore it. I'm going back to work. She heads for the door, stops. SAMMY Oh, and I have to pick up Rudy today because there's no one else to do it. But I'll find someone as soon as I have time. BRIAN Yeah. Fine. Why don't you just take over the whole bank? Sammy hesitates in the doorway. This thought has never occurred to her before. She goes out. INT. LUNCH PLACE. DAY THROUGH THE WINDOW we see Sammy and Bob having lunch. Sammy watches him eat, full of mixed feelings about him. INT. KITCHEN. DAY Sammy is at the stove, making pancakes. She puts a last pancake onto Rudy's plate and brings it to him. SAMMY Well, I called where Uncle Terry said he was gonna stay, and there was no answer, so I don't know if he's still in town or not. Rudy doesn't answer. SAMMY Rudy? Are you not speaking to me? Rudy doesn't answer. SAMMY Well, I'm sorry you're so mad at me, but I only did what I thought I had to do, and I hope you don't stay mad at me for the rest of your life. He opens the maple syrup and pours it on the pancakes. SAMMY Rudy, that's too much. He keeps pouring. She grabs the bottle from him and upsets some of the dishes on the table. SAMMY You gotta cut this out! RUDY What did I do? SAMMY You don't know what you're talking about! There was nothing else I could do! I can't explain it better than that, but you can't go on like this because you don't know anything about it and you don't know what you're doing! RUDY (Frightened) OK, I'm sorry! SAMMY I don't want you to be sorry, I just want you to STOP IT! RUDY I will! I will! I'm stopping, I'm sorry. He comes around the table to her. RUDY See? I'm stopping! I'm not doing it. See? I'm not. He's very alarmed. Sammy looks at him for a long moment. EXT. CEMETERY. DAY Terry walks through the little cemetery gate and makes his way up the hill through the tombstones. He reaches his parents' graves. He looks at the tombstones for a moment. He puts his hand on top of one headstone, then the other. He sits down and smokes. He looks up at the SKY. It's a beautiful deep blue sky dotted with billowy white clouds. He looks out over the hilly scenery. After a moment he shakes his head a few times. He doesn't even know he's doing it. He sits there. INT. RAY'S HOUSE. DAY The PHONE IS RINGING as Terry walks into the house. He walks past it, to the fridge, gets a beer and opens it. It KEEPS RINGING. He picks it up. TERRY (Into phone) Ray's house. INT. BANK -- SAMMY'S DESK. DAY Sammy is at her desk on the phone. SAMMY Hi. WE CUT BETWEEN THEM. Terry doesn't say anything. SAMMY I didn't know if you left yet. TERRY No -- I'm leavin' tomorrow. SAMMY Well -- What time? TERRY There's a bus at nine. SAMMY Well -- Can I -- I'd like to see you before you go. I mean, can I give you a lift? Or do you want to have breakfast or anything? And I think Rudy would really like to say good- bye. TERRY Yeah -- I don't know... I mean -- SAMMY Terry, you can't just leave like this. I -- TERRY All right, all right. I'll come by in the morning. SAMMY All right -- But just -- We have to be out of the house by eight, so -- I don't want to tell Rudy you're coming unless you really think you can make it -- TERRY Yeah -- No -- I'll be there. SAMMY All right. TERRY All right. INT. KITCHEN. MORNING Sammy is clearing the breakfast dishes. Rudy is finishing up his cereal. The clock reads 7:50. SAMMY You should get your sneakers on. EXT. HOUSE. A MOMENT LATER Sammy comes out and looks up and down the road. INT. LIVING ROOM. A FEW MOMENTS LATER Rudy sits in the living room in his baseball jacket. His knapsack is on the floor beside him. He looks at the CLOCK: 8:06. Sammy comes into the living room and looks at him. SAMMY Sweetie, I'm sorry, we have to go. RUDY Why can't I miss school one day? They HEAR the PICKUP PULL UP OUTSIDE, O.C. Rudy gets up immediately. EXT. THE HOUSE. A MOMENT LATER Terry jumps out of RAY'S PICKUP. Sammy opens the front door and Rudy runs out toward Terry. RUDY Hi! TERRY Hey, how's it goin', man? Rudy stops short in front of Terry. Terry looks at Sammy, in the doorway. TERRY Sorry I'm late. EXT./INT. CAR. DAY The car stops across the street from the BUS. The LAST KIDS are getting in. SAMMY HONKS for the bus driver, and Sammy, Terry and Rudy all get out. TERRY So Rudy... If I write you a letter, will you write me back? RUDY Yeah. TERRY OK, well, that's gonna be pretty nice for you, because I write a pretty Goddamn interesting letter. RUDY Yeah, we'll see. TERRY All right. Well, say good-bye. RUDY Bye. Rudy hugs Terry. Terry hugs him back. He is suddenly overcome and presses his lips to the top of Rudy's head. Rudy walks to the BUS and gets on. The bus pulls away. Alone now, Sammy and Terry are not that comfortable. He moves to get back in the car, and she does the same. EXT. BENCH. DAY Sammy and Terry sit on a bench near the bus stop. Terry's backpack is by his side. SAMMY Do you need some cash for the bus? TERRY No, I got a few bucks... Aren't you gonna be late for work? SAMMY Oh -- Yeah. That's OK. (Pause) Terry, I don't even know where you're going. TERRY Oh, well, I didn't really have a concrete plan yet. I have to go back to Worcester and get my stuff... SAMMY Oh, are you gonna try to see that girl? TERRY Well... Yeah... You know... Thought maybe I'd try to show my face... Let her brother have a crack at me... SAMMY What? TERRY No... SAMMY ...I don't want anyone to have a crack at you. TERRY I'm just kidding. I just thought... Just thought I'd check up on her... (Pause) Anyway, after that, I don't really know. I've been thinking about Alaska a lot. I still got some friends out there. I don't really know. Anyway, I'll write you. SAMMY You will? TERRY Sure, Sammy. Of course I will. You know that. Pause. SAMMY What is gonna happen to you? TERRY Nothing too bad... But I gotta tell you, I know things didn't work out too well this time... SAMMY Well, Terry -- TERRY ...but it's always really good to know that wherever I am, whatever stupid shit I'm doing, you're back at my home, rooting for me. SAMMY I do root for you. She starts crying, and looks down. TERRY Come on, Sammy. Everything's gonna be all right... Comparatively... And I'll be back this way... SAMMY I feel like I'm never gonna see you again...! TERRY Of course you will, Sammy. You never have to worry about that. SAMMY Please don't go till you know where you're going. Please...! TERRY I do know where I'm going. I'm going to Worcester and I'm gonna try to see that girl. And then depending on what happens there, I thought I'd try to see if there's any work for me out West. And if there is, I'm gonna head out there for the summer and try to make some money. And if there isn't, I'll figure something else out. Maybe I'll stay around the East. I don't know... I really liked it in Alaska. It was really beautiful. You just -- It made me feel good. And before things got so messed up I was doin' pretty well out there. Seriously. But I couldn't stay here long, Sammy: I don't want to live here. But I'm gonna stay in touch. And I'll be back. 'Cause I want to see you and I want to see Rudy. I'll come home for Christmas. How about that? We'll have Christmas together. (Pause) Come on, Sammy. You can trust me... Still looking down, Sammy shakes her head, tears leaking down her cheeks. TERRY Come on, Sammy... Look at me... Look at me... She looks at him. TERRY Hey, Sammy... Remember when we were kids, remember what we always used to say to each other . . .? (Pause) Remember when we were kids? SAMMY Of course I do...! She throws her arms around his neck. He pats her gently. INT./EXT. BUS. DAY The DOORS OPEN and Terry comes up the steps and into the bus. Outside, Sammy watches him pay the driver and move through the bus toward his seat. The BUS DOORS CLOSE. EXT. BUS. CONTINUOUS Sammy waves till the BUS DRIVES all the way down MAIN STREET, turns a corner and is gone. INT. BUS. CONTINUOUS Terry, in his seat, turns forward and watches the view go by. He smiles a little. INT. SAMMY'S CAR (MOVING). DAY The morning sunlight flickers through the windshield into the car as Sammy drives along toward work. She passes the TOWN HALL CLOCK and sees that it's 9:20. She dries her damp cheek with a forearm and rolls down her window to let the morning breeze blow through. Squaring her shoulders a little, she drives through town at a slow and easy pace. THE END EXT. WORK FARM - NIGHTFALL All we SEE is an ELEVATED SHOT of the distant mountains, rolling landscape and McMURPHY -- one cheek laid-open and crusted over with dried blood, his face and prison work clothes caked with dried sweat and dust -- as he sits on the very top of a water tower watching the last rays of sunlight. A long moment passes before McMurphy's attention is drawn elsewhere and he looks down. REVERSE SHOT - MCMURPHY'S POV Far below, in the prison yard a MAN is SEEN hurrying across the yard where he joins a group of men composed of armed prison guards, officials, and medics -- a stretcher, an ambulance, a fire truck and safety nets spread out at the base of the water tower. The man is seen talking to the officials, then a bullhorn is handed to him and they all look up at McMurphy. MCMURPHY As he looks down at them, a searchlight is turned on him. MAN (V.O.) (through bullhorn) McMurphy! This is Doctor Shankle, from the infirmary. Can you hear me? McMurphy doesn't respond. SHANKLE (V.O.) (through bullhorn) Can you hear me, McMurphy? McMurphy doesn't respond. Another searchlight goes on as a SECOND VOICE is PICKED UP on the BULLHORN. SECOND VOICE (through bullhorn) Why don't we blast 'im, for Christ sake, he ain't gonna come down... you... The BULLHORN is TURNED OFF. A long moment passes as McMurphy continues to squat on the tower and wait. He shivers against the coming night when... SHANKLE (V.O.) (through bullhorn) McMurphy! I have the warden's promise. If you come down, nobody will hurt you! You'll be in my custody! I promise! An imperceptible smile appears on McMurphy's face. INT. MEN'S DORM - OREGON STATE HOSPITAL - DAWN Strange HUMMING SOUNDS, CLANKING PIPES and HISSING RADIATORS as we see beds, with patients lying asleep, line two walls. The third wall is a heavy gauge steel grill, with a door that opens on to the day room. The door is open. On the far side of the day room, a long hallway with other doors opening into rooms: the latrine, washroom, tub room, mess hall, seclusion room, psychiatrist's office, visitors' room, etc. Across the day room, a glass enclosed nurses' station where TURKLE, a Negro night attendant, is seen preparing to go off duty. The CAMERA PANS the beds in the men's dorm. One man turns, another twists, a third lies as if dead. CAMERA PAN ENDS on BROMDEN, who lies still, eyes wide open, very alert. He reaches down, plucks a stale piece of gum from under the bed frame, puts it in his mouth and starts chewing. A beat, then Bromden carefully undoes the leather strap which binds him to the bed. He slips out of bed and quietly makes his way down the aisle, paying no attention to the other patients, some of who are beginning to stir awake. Ahead, at the end of the hallway, the door opens and three Negro day attendants, WASHINGTON, WARREN and MILLER, dressed in white uniforms, enter and move down the hallway and disappear into a side room. Bromden continues his silent journey towards the day room as Turkle emerges from the side door to the nurses' lounge, goes up the hallway as MISS PILBOW, the day nurse, comes in, passing Turkle on the way out. She crosses to the nurses' station and enters as Bromden reaches the day room. INT. DAY ROOM - DAY as Bromden makes his way across the day room, past the nurses' station, unnoticed by Miss Pilbow who is busy preparing the day's medication. Bromden is sliding along the hallway wall, when he is suddenly cut off by a mop which THUDS against one side of his neck. A second mop yokes him on the other side. Bromden freezes. Terrified. MILLER Where you goin', Chief? WARREN You goin' t'see the Big White Fathuh? WASHINGTON He goin' t'see the Big White Muthuh... They cackle, legs jiving, as the ammonia stings Bromden's eyes and burns his nose. He tries to twist his head, but Washington jams the mop harder. Bromden freezes, panic spreading across his face. WASHINGTON Haw, look at 'im, big 'nough to eat apples off my head an' he mine me like a baby... A KEY is HEARD hitting the lock in the main door. Washington very adroitly releases Bromden, hands him the mop, and turns, along with Warren and Miller, to their duties, as BIG NURSE enters the ward. THREE ATTENDANTS (simultaneously, as Big Nurse passes) Mornin', Miss Ratched... BIG NURSE Good morning, boys. She sweeps by and disappears into the nurses' station. The three attendants put their mops and rags aside and start towards the men's dorm, leaving Bromden pressed against the wall, mop in hand. INT. NURSES' STATION as Big Nurse enters to be greeted by Miss Pilbow, who wears an enormous cross between her breasts. MISS PILBOW Good morning, Miss Ratched. It's a beautiful day, isn't it? BIG NURSE Mean old Monday, Miss Pilbow, mean old Monday... (she flips on the intercom) Good morning, boys. Rise and shine. Rise and shine. INT. MEN'S DORM - DAY as Washington, Warren and Miller roust the patients out of bed. BIG NURSE (V.O.) (through loudspeaker) Time to get up! Come on now, it's a beautiful day! Let's not straggle! Everybody up, up, up! The Chronics are physically helped out of bed as the Acutes, who can handle themselves, cross out into the Day Room, rubbing the sleep out of their eyes. Big Nurse steps out of the Nurses' Station. Washington and Warren are hustling the patients toward the washroom. Miller stays behind, stripping Blastic's bed and rolling up his mattress. INT. DAY ROOM - DAY as the Acutes straggle past Big Nurse. BIG NURSE Good morning, Mister Sefelt... Good morning, Mister Fredrickson. Good morning, Billy, I spoke to your mother last night and she sends her love... Good morning, Mister Harding... Good morning, Mister Cheswick. Mister Scanlon... Bromden comes drifting by, going in the opposite direction. Big Nurse takes his hand and reaches up and pats his face. BIG NURSE Oh, Mister Bromden... (calling out) Mister Washington! Washington comes running. WASHINGTON Yes, Miss Ratched? BIG NURSE Mister Washington, why don't we get a good head start on the day by shaving Mister Bromden and see if we can't avoid a disturbance. WASHINGTON (taking Bromden by the hand) Yes, Miss Ratched... INT. WASHROOM - DAY The patients are busy washing and shaving. Warren is assisting a vegetable wash himself as Washington guides Bromden through a cage-like partition... where an antique barber chair stands. WASHINGTON (calling as he goes) Warren! He sits Bromden down and straps his bands and legs in, then plugs the electric shaver in and turns it on and brings the BUZZING instrument towards Bromden's face. Bromden turns away. WASHINGTON (shouting out) Get your black ass in here! Warren props the vegetable up against the sink. WARREN Tha's it... be right back! Warren leaves; the old man starts sliding. QUICK CUT TO: BROMDEN as Warren enters and takes a firm grip on Bromden's head and Washington goes to work on Bromden's face. CAMERA PUSHES INTO EXTREME CLOSEUP of Bromden's fearfully distorted face as the BUZZING SOUND of the electric razor INTENSIFIES until it is INSUPPORTABLE. QUICK CUT TO: INT. DAY ROOM - DAY No sound as we SEE Big Nurse watch the last few patients file past the side door to the Nurses' Station where Miss Pilbow hands out little cups with pills. Washington stands by, checking to see each man takes his pills before filling their cups with orange juice. The last patient takes his pills and returns to his place in the Day Room. Miss Pilbow closes the window. Satisfied that all is well, Big Nurse turns on an old 45 record player with a stack of records, then she settles down to her work as a SOFT, NOSTALGIC NUMBER from the '40's is HEARD OVER LOUDSPEAKER. CAMERA BEGINS SLOW PAN of the Day Room. The patients, under the influence of drugs, have settled down for the day. HARDING is playing cards with MARTINI, CHESWICK and BILLY. SEFELT and FREDRICKSON are putting a jigsaw puzzle together in brotherly love. SORENSEN is off by himself, rubbing his hands clean. TABER, pencil in hand, sits pondering over a blank piece of paper. SCANLON paces back and forth. On the Chronics' side of the room, RUCKLY is turning a grimy photograph over in his hands. BANCINI sits wagging his head, mumbling over and over, "Tired, awful tired..." ELLIS stands against the wall, arms outstretched, hands nailed to the wall by imaginary nails. Bromden is pushing a mop around. Washington, Warren and Miller are in the men's dorm making up the Chronics' beds when O.S. the TELEPHONE RINGS. CUT TO: INT. NURSES' STATION - DAY as Miss Pilbow picks up the phone. MISS PILBOW Eighty-two, Miss Pilbow speaking... Yes... (she makes a note and hangs it) ...New admission, Miss Ratched... Miss Pilbow goes to the mirror, quickly preens herself, then turns and flips the intercom on. MISS PILBOW (over loudspeaker) Mister Washington! Mister Warren! She exits. CUT TO: INT. DAY ROOM as Miss Pilbow exits nurses' station and heads down the hallway, Washington and Warren on her heels. Miller looking wistfully after them. CUT TO: INT. MAIN ENTRANCE - STATE HOSPITAL - DAY Staff personnel are SEEN moving in and out of the main entrance where a state penitentiary car is parked. A DEPUTY SHERIFF leans on the fender smoking a cigarette as SECOND DEPUTY SHERIFF comes out of the building and motions down to First Deputy, who crushes his cigarette out, then opens the rear door to the car. DEPUTY SHERIFF (to an unseen occupant) Okay, let's go. A long beat, then McMurphy slowly emerges from the car. He's wearing handcuffs and dressed in faded jeans, flannel work shirt, leather jacket, black motorcycle cap, and heavy black boots. He's been scrubbed clean and has a Band-Aid on his cheek. McMurphy does a couple of knee bends to get the kinks out of his legs as Deputy reaches in the car and takes out a small gym bag containing McMurphy's belongings. DEPUTY SHERIFF Let's move it... McMurphy goes up the stairs, followed by the Deputy, and crosses into the building. INT. MAIN BUILDING - DAY as McMurphy enters the building followed by the Deputies, where Nurse Pilbow, McMurphy's folder in hand, and Washington and Warren stand waiting -- all in a pleasant, receptive mood. First Deputy hands McMurphy's gym bag to Washington, who hands it to Warren. SECOND DEPUTY Okay, this is it! McMurphy turns and holds out his hands. As cuffs are removed, McMurphy impulsively takes hold of the Deputy's head and plants a kiss on his forehead. SECOND DEPUTY (squirming out of McMurphy's grasp) Jesus, you're crazy, McMurphy. MCMURPHY Yeah, ain't that the truth. DEPUTY SHERIFF (to Miss Pilbow) He's all yours, Miss. MISS PILBOW Thank you, Officer... The two Deputies start down the stairs. MCMURPHY So long, fellas... The two Deputies merely shrug their backs at McMurphy who takes a deep breath of fresh air. MCMURPHY Yes, sir, it's a mighty nice fall day... MISS PILBOW This way, Mister McMurphy. MCMURPHY Yes, ma'am... McMurphy follows Nurse Pilbow into the hallway as the door closes behind them. CUT TO: INT. HALLWAY - DAY Other STAFF MEMBERS are administrative personnel are SEEN as McMurphy walks alongside Nurse Pilbow, who is noticeably nervous by his close proximity. Washington and Warren casually bringing up the rear. MCMURPHY (as he peels the Band- Aid off, revealing a scar) I tell ya, these goons showered me at the courthouse this morning, last night at the jail, and I swear they'd have swabbed my ears out on the way over if they could've found the facilities... A young Japanese nurse, named ITSU, passes by. MCMURPHY (to Nurse Itsu) Hey, how ya doin', cutie? NURSE ITSU Okay. How you doing? MCMURPHY Just great! (calling after her) See ya around! Nurse Itsu laughs and disappears around the corner. MCMURPHY (to Nurse Pilbow) Yes, sir, I sure am gonna enjoy my stay here. MISS PILBOW I'm sure you will. MCMURPHY (to Nurse Pilbow) Ya know, I ain't never been in an institution of psychology before. MISS PILBOW Oh... They arrive at the ward door. Nurse Pilbow unlocks the door and opens it as... MCMURPHY Yeah, I'm here on a ninety-day observation period. Short-timer, like they say... Soft nostalgic MUSIC is HEARD OVER. MISS PILBOW Of course. (indicating door) Mister McMurphy. MCMURPHY After you, ma'am. MISS PILBOW Thank you. Nurse Pilbow enters the ward and McMurphy watches her cross the visitors' area to a heavy-gauge steel screen wall, with security gate which she opens. MCMURPHY (to Washington and Warren as they step into ward) Man, there sure is an awful lot of poontang around here. SPIVEY (calling) Hold it! McMurphy turns to see DOCTOR SPIVEY approaching. SPIVEY Good morning, boys. WASHINGTON AND WARREN (simultaneously as Spivey passes into the ward) Mornin', Doctor Spivey. SPIVEY Great day for fishing. WASHINGTON AND WARREN (simultaneously) Yes, sir! The door closes. CAMERA HOLDS on sign that READS: SMILE AT THE NEXT FACE YOU SEE. IT MAY SAVE HIS LIFE. MCMURPHY (O.S.) Yeah, I was just thinking the same thing, Doc... CUT TO: INT. WARD - DAY as McMurphy, Spivey, Washington and Warren cross the visitors' area towards Nurse Pilbow, who stands holding the security gate open. At the far end of the hallway, which opens into the day room, patients can be seen. SPIVEY (to McMurphy) Oh, what's that? MCMURPHY Why, I'll betcha there must be a million albacore and tuna running of the coast right this minute. SPIVEY Oh, do you do much fishing? As they pass through the security gate: MCMURPHY Fish! Hell, Doc, I'd like to have a nickel for every fish I landed between Point Conception and the Alaska coast... Washington and Warren continue down the hallway, passing SEFELT, who shyly approaches and waits at a respectful distance. SPIVEY (to McMurphy) Is that so? MCMURPHY Yup! Worked right outta Depoe Bay for just about every season since I was able to haul my own weight. SPIVEY My, my... Ah, who are you? MCMURPHY McMurphy, Doc. R.P. McMurphy. They shake hands. NURSE PILBOW Mister McMurphy is a new admission. SPIVEY Ah, yes. Well, we must talk soon, Mister McMurphy. MCMURPHY You bet, Doc. Spivey turns to Sefelt. SPIVEY Good morning, Jim. How are you feeling? SEFELT (approaching and pointing to his mouth) Doc, my gums hurt me. Spivey starts checking out Sefelt's mouth. NURSE PILBOW This way, Mister McMurphy. As McMurphy follows Nurse Pilbow down the hall, Spivey's voice trails after him. SPIVEY (O.S.) Have you been taking your Dilantin, Jim? SEFELT (O.S.) Uh-huh... SPIVEY (O.S.) Well, we'll send you over to the dentist and see what he can do. Okay? SEFELT (O.S.) Okay, Doc! McMurphy and Nurse Pilbow reach the day room. MISS PILBOW Make yourself at home, Mister McMurphy... MCMURPHY Thank you, ma'am, Nurse Pilbow enters the nurses' station, closing the door behind her. Next to the door is a bulletin board which, among other bits of information, READS: TODAY IS MONDAY SEPTEMBER 30, 1963. THE NEXT MEAL IS LUNCH. THE NEXT HOLIDAY IS HALLOWEEN. ANOTHER NOTICE READS: SIGN UP NOW! BASKETBALL TOURNAMENT STAFF VS PATIENTS. WASHINGTON, WARREN, MILLER. There are no other names listed. Sefelt passes by. MCMURPHY Hi. SEFELT Hi. Sefelt crosses into the day room where he joins Fredrickson, who is putting a jigsaw puzzle together. INT. DAY ROOM - DAY as McMurphy drifts into the room and looks around. The room is as it was. The MUSIC ENDS. There is a CLICK. McMurphy's attention is drawn to the nurses' station. MCMURPHY'S POV OF NURSES' STATION where Miss Pilbow is SEEN through a large plate glass window, busy typing a nameplate for McMurphy. Big Nurse, her back to McMurphy, is turning over a stack of records. She presses the phonograph button. A record falls on the turntable and MUSIC BEGINS as she turns and sees McMurphy. ANOTHER ANGLE McMurphy smiles and tips his hat to Big Nurse. Big Nurse smiles back and takes her seat. McMurphy turns and drifts into the day room. Big Nurse looks up and studies him. McMurphy catches the eye of a PATIENT, sitting by himself. MCMURPHY How ya doin', buddy? PATIENT Poorly, thank you. MCMURPHY Oh, yeah? What's ailing ya? PATIENT I got the fever. MCMURPHY Well, that's too bad... Taber, pencil and paper in hand, crosses to McMurphy and taps him on the shoulder. MCMURPHY Yeah, buddy? TABER Are you a doctor? MCMURPHY No, 'fraid not... Taber walks away. Martini tugs at McMurphy's sleeve. MCMURPHY Yeah, buddy? MARTINI Can you borrow me a dime? MCMURPHY Sorry, buddy, I'm clean outta change... Scanlon moves in. SCANLON Got a cigarette? MCMURPHY Sure... MARTINI Me too! Me too! As McMurphy hands out his cigarettes Bromden drifts by, mop in hand. MCMURPHY Hey, how's it look up there, big boy? SCANLON He can't hear you. He's just a deaf and dumb Indian! MCMURPHY That right? HARDING (O.S.) Martini, it's your turn! Martini is staring off into space. HARDING Martini! MCMURPHY (to Martini) Your buddy is callin' ya. Martini crosses back to the card game as Taber returns. MCMURPHY What's troubling ya, buddy? TABER I want you to write me a letter to my brother for a hundred dollars to bury me. MCMURPHY You look pretty healthy to me. TABER I'm the next one. MCMURPHY How do ya know that? TABER Because I quit breathing. MCMURPHY You're breathin' right now. Taber walks away. McMurphy watches him go. Nearby, an OLD VEGETABLE squeaks. MCMURPHY (crossing to him) What's that, Pop? The old man squeaks again. MCMURPHY (leaning in close) Can't hear ya, old-timer. OLD VEGETABLE Ain't this a pisser? MCMURPHY Hell, compared to where I just come from, this is a country club. McMurphy crosses to the card game and stands watching the game. MCMURPHY Whatcha boys playin'? BILLY H-H-Hearts. MCMURPHY Shoot! No wonder you don't care nothin' 'bout showin' your hand. Billy holds his hand close to his chest. MCMURPHY What's your name, buddy? BILLY B-B-Billy. MCMURPHY Well, put 'er there, Billy boy, my name's McMurphy. They shake hands. MCMURPHY What I wanna know is who's the top loony around here? BILLY Y-Y-You m-mean th-the pr-president of the P-P-Patients C-Council? MCMURPHY Yeah, that'll do for openers! BILLY (to Harding) H-H-Harding, the m-m-man w-wants to t-talk to you, y-you're the pr-pr pr... HARDING Does he have an appointment? CHESWICK Yeah, do you have an appointment? MCMURPHY What for? CHESWICK (to Harding) What for? HARDING I'm a busy man! CHESWICK (to McMurphy) He's a busy man! A beat; then: MCMURPHY I can wait... McMurphy picks up a chair and sits down right next to Harding and looks at him. Another beat; then: HARDING (to McMurphy) What are you doing? MCMURPHY I'm seeing what a busy man does. Harding, very nervous at McMurphy's proximity, turns back to the game. HARDING Your turn, Martini! Martini is lost in the clouds. HARDING Martini, throw a card! Martini throws a diamond. HARDING No, throw a club! CHESWICK Yeah, throw a club! Martini throws a spade. HARDING Don't you have any clubs? MARTINI No! HARDING Let me see your hand! MARTINI No! HARDING (slamming his cards) Well, if you gentlemen will excuse me, I have some pressing matters to attend to. Harding gets up and crosses to the hallway, gathering his pride as he goes. McMurphy slides into Harding's seat and rakes all the cards in. MCMURPHY Yessir, that's why I came to this establishment for, to bring you birds fun and entertainment 'round the gamin' table... McMurphy fans the deck out and lays it on the table. Everyone's eyes pop as he scoops the cards up in one movement -- he's a card shark, a magician -- leaving the Acutes with their mouths hanging open. MCMURPHY Easy now, don't smudge 'em, we got lots of games ahead of us... BIG NURSE (O.S.) Mister McMurphy! McMurphy turns to see Big Nurse approaching, Washington casually bringing up the rear. MCMURPHY Yes, ma'am... BIG NURSE (handing him his bag) Will you come with me, please. MCMURPHY (rising) Hold the fort down, will ya, fellas! BILLY Sure, Mack! McMurphy walks with her toward the men's dorm. BIG NURSE My name is Miss Ratched. I'm the head nurse here. You've already met Miss Pilbow and Aides Washington and Warren. MCMURPHY Yes, ma'am. Big Nurse and McMurphy stop at the security gate to the men's dorm where Miller opens the gate. BIG NURSE Mister Miller, this is Mister McMurphy, who'll be staying with us. Greetings are exchanged as they pass through. INT. MEN'S DORM - DAY as Big Nurse and McMurphy cross down the aisle. BIG NURSE We do appreciate the way you have taken it upon yourself to meet the other patients. MCMURPHY Thank you, ma'am... Big Nurse stops at an empty bed where Warren is turning the mattress down. BIG NURSE This is your bed. You may leave your things in that cabinet. MCMURPHY Yes, ma'am... BIG NURSE Please use your time to familiarize yourself with your new home and if there is anything you need to know, don't hesitate to ask us. MCMURPHY Now that you mention it, I sure would like to call my aunt up in Portland and tell 'er where I am so she can come visit me. BIG NURSE All in good time, Mister McMurphy. All in good time. MCMURPHY Yes, ma'am. BIG NURSE Good. Now if you'll just go along with Mister Washington, he'll see that you're properly oriented. McMurphy doesn't move. BIG NURSE Is there anything else? MCMURPHY Just that I'm glad to be here, Miss Ratched. I really am. BIG NURSE Good. I'm sure we'll be friends. They smile, sizing up each other. MCMURPHY Yeah, you ain't half so bad looking for a head nurse. BIG NURSE Yes. Now go along, Mister McMurphy. Go along. MCMURPHY Yes, ma'am. (to Washington) Lead the way, Sam. They cross out of the men's dorm. Big Nurse watches them go. SPIVEY (V.O.) What other work have you done? INT. DOCTOR SPIVEY'S OFFICE - DAY Doctor Spivey is seated behind his desk, on which are several glass-framed photos of Spivey's family, plus a nameplate: JOHN M. SPIVEY, M.D., and McMurphy's papers. McMurphy, freshly showered and wearing hospital-issue clothes, sits facing him. MCMURPHY Hell, Doc, I've been everything from a hoopla man with a two-bit carny show to a top mechanic and bull goose catskinner for every gypo loggin' operation in the Northwest till the Army taught me what my natural bent was. SPIVEY Oh, what was that? MCMURPHY Poker! SPIVEY I see. MCMURPHY Yeah, but you know how society persecutes a dedicated man. SPIVEY In what way? MCMURPHY They say I'm a habitual hassler. Like I fight some. Sheeut. They didn't mind so much when I was a dumb logger and got into a hassle. That's a hardworkin' feller blowing off steam, they say. But if you're a gambler, all you have to do is spit slantwise and you're a goddamned criminal. SPIVEY I see... MCMURPHY To tell the truth, ever since I found my natural callin' I done time in so many small-time jails I could write a brochure... SPIVEY Yes... Ah, do you know why you're here? MCMURPHY Well, ya know, Doc... (indicating his papers) Doesn't it say so there? SPIVEY (looking over papers) Well, according to the Warden at Pendleton, you were a disturbing influence on others. 'It appears that there is a potential in him for instigating a revolt among the other inmates.' (looking up at McMurphy) What do you think of that report? MCMURPHY I don't, Doc... SPIVEY (goes back to papers) Arrested on an assault charge five times... MCMURPHY That's correct, Doc... SPIVEY (reading from folder) The doctor at the prison states: 'Don't overlook the possibility that this man may be faking psychosis to escape the drudgery of the work farm...' What do you say to that? MCMURPHY Doc, what can I tell ya? SPIVEY Ah, it seems you have no other psychiatric history, Mister Murphy? MCMURPHY No, this is my first trip, Doc. SPIVEY (closes folder and sits back) Well, you're here for a ninety-day observation period, Mister McMurphy. I'd like you to understand you are here on a court order and we are responsible to the state. So, I'd like your cooperation! MCMURPHY You bet, Doc! SPIVEY Good. Good. INT. DAY ROOM - DAY CAMERA is on Big Nurse as she stands, in front of a chair, doing a deep breathing exercise. The patients and staff, standing in front of chairs arranged in a circle, follow suit as best they can. After a couple of exercises Big Nurse sits. The others do the same except Bancini, who remains standing, wagging his head back and forth. BANCINI I'm tired. Whew. O Lord. Oh, I'm awful tired... BIG NURSE (busy with her papers) Somebody please see to Mister Bancini, so we can start the meeting. Billy does... gently laying a hand on Bancini. BILLY T-t-t-take it e-e-easy, P-P-P Pete... BANCINI Awful tired... Billy gently eases Bancini into his chair and sits beside him, patting his skinny knee. BIG NURSE At the close of Friday's meeting, we were discussing Mister Harding's problem, concerning his wife... (reading from logbook) Mister Harding stated that his wife made him uneasy because she drew stares from men on the street. Is that correct, Mister Harding? HARDING Yes, that's perfectly correct. BIG NURSE (reading) He also thinks he may have given her reason to seek sexual attention elsewhere, but he didn't say how. He has been heard to say to his wife, 'I hate you, I don't ever want to see you again. You've betrayed me.' (she closes book) So. Does anyone care to touch upon this further? Big Nurse waits. A long beat. Harding sits, chewing his nails, tensely waiting, almost wanting someone to begin. The patients shift uncomfortably, looking in all directions. McMurphy looks around to see what will follow, when he sees Ellis, nailed to the wall; his pants leg darkens and a puddle of piss forms at his feet. McMurphy looks to see if Big Nurse or the Aides have noticed. If they have, no one pays any attention. McMurphy fidgets in his seat, then gets up, crosses to Ellis, unhooks him from the wall, and moves him over a few feet. The other patients are aghast at this move, look at each other quizzically. Big Nurse merely watches. McMurphy crosses back to his chair and sits. BIG NURSE Mister McMurphy, this ward is a democratic community run by the patients and their votes, so you should feel at ease in your new surroundings to the extent you can freely discuss emotional problems in front of the patients and staff. However, the cardinal rule, and I must emphasize this: Everyone keeps their seat during the meeting! MCMURPHY Yeah, well, it just pains me somethin' awful to see a full growed man sloshing around in his own water... BIG NURSE Yes... We were discussing Mister Harding's problem with his wife. Now, who will start? (no response) Billy. BILLY M-m-m-ma'am? BIG NURSE Would you like to start? BILLY N-n-n-n-n-no, ma'am. BIG NURSE Mister Sefelt? Sefelt shrugs and sinks into his seat. BIG NURSE Mister Fredrickson? Fredrickson passes. BIG NURSE Mister Taber? Taber passes. BIG NURSE Mister Martini? MARTINI No! BIG NURSE Mister Scanlon? Scanlon looks at the floor. BIG NURSE Mister Cheswick? Cheswick wags his head 'no.' BIG NURSE Am I to take it that there isn't a man among you who has an opinion concerning this matter? (no response; she focuses in on Harding) Mister Harding, you've stated on more than one occasion that you suspected your wife of seeing other men. HARDING Yes, Miss Ratched, this is correct. BIG NURSE But you have no proof. HARDING No, Miss Ratched... BIG NURSE And yet you suspect her. HARDING Yes, that is correct. BIG NURSE Why? HARDING I can only speculate as to the reasons why. BIG NURSE Have you ever speculated, Mister Harding, that you are impatient with your wife because she does not meet your mental requirements? One of the Chronics laughs like a child. HARDING Miss Ratched. Given all the conditions of that sublime relationship, coupled with the subsequent annihilation of all that I held to be sacred, mentally, physically and emotionally, the only thing that I can speculate on, at this late date, is how I will justify the very existence of my life, with or without my dear wife. SEFELT What's he talkin' about? TABER Yeah, Harding, why don't you knockoff the bullshit and get to the point. Several Acutes chime in, "Yeah, get to the point," AD LIB. HARDING The point is, I will carry on until I fully understand what the function of that relationship is regardless of form or content. Several hands go up. BIG NURSE Yes, Billy? BILLY I-I-I-I-I d-d-don't s-s-see how anyone could lu-lu-lu-love a man who t-t-t- talks the way he does. TABER Yeah, Harding, you're so fuckin' dumb I can't believe it. HARDING That's a matter of opinion. SEFELT Yeah, Harding, where do you breathe anyway? FREDRICKSON Through the ass. Sefelt and Fredrickson snicker into their hands. A few of the others laugh. HARDING (smarting) Is that your sense of humor or are you trying to say something? FREDRICKSON (innocence itself) Now what would I be trying to say? HARDING I don't know. I don't know, but it makes me feel very peculiar when you throw in something like that. FREDRICKSON Peculiar? SEFELT Why? TABER Yeah, why? SCANLON Yeah, tell us why. HARDING I hesitate to go on. BIG NURSE No secrets, Mister Harding. Let's get it all out in the open... HARDING I mean, the other day you made an allusion to my wife and the possible sexual problems we might be having. I know that to be the case, but the way in which you broached it, if that's your idea of teaching me something... HARDING (his voice rising as he goes on) ...or making me aware of a condition in my life, then I say, categorically speaking, the hell with you, Taber! I don't have to justify the condition of my life to you or any of you. No matter what I will carry on until I fully understand what that function is regardless of the form or content. Regardless of the fact we must try to understand the function of our capacity to obtain, to personify the condition, the condition of our existence, our existence... TABER You know what, Harding? I think you're some kind of morbid asshole or something. You've been talking about your wife ever since I can remember. You know, she's on your mind and blah, blah, blah and on and on and when are you going to wise up and turn her loose! FREDRICKSON Yeah, wise up, Harding. SEFELT Yeah, turn her loose! ACUTES (start pouring it on) Yeah, who do you think you are anyway?... He thinks he's God Almighty... He's a snob... He's a schmuck... Dumbbell... Creep... Cretin... Idiot... Get rid of him... Ship him upstairs... RUCKLY (chiming in) Ffffffuck da wife... BANCINI (wagging his head) Tired... Awful tired... ACUTES (not letting up) Zap him... Give 'im lobotomy... Cut his nuts off... He doesn't have any... Fag... Pervert. BANCINI (in a strong angry voice) I'm tired! Everyone hushes. BIG NURSE Somebody see to Mister Bancini. Two or three Acutes get up and try to soothe Bancini, but he isn't to be hushed. BANCINI Tired. Tired. Oh God, I'm tired... Big Nurse nods to Washington, who goes to Pete, and gives his arm a jerk toward the door. Bancini is unmovable. Big Nurse signals Nurse Pilbow, who heads for the nurses' station. Washington senses danger, lets go of Pete's arm, backs away. WASHINGTON You a good boy, Mistah Bancini... Nurse Pilbow returns, hypodermic needle in hand. Pete turns to his fellow inmates. BANCINI You see... it's a lotta baloney... It's all a lotta baloney... NURSE PILBOW Yes, yes, Mister Bancini, now if you'll just be calm... BANCINI That's all it is, just a lotta baloney. Ya see, I can't help it, can't... NURSE PILBOW (working her way around Bancini) Yes, I know, I know... She gets him in the ass, with the needle, and springs back. BANCINI ...don't ya see. I was born dead. Not you. You wasn't born dead. Ahhh, it's been so hard... (starts going over, slowly; sighing and crying) Tired... I'm tired... aw-ful tired... McMurphy looks around at the others. Each patient is locked in his own world -- oblivious to Bancini's state. EXT. BASKETBALL COURT - DAY WIDE SHOT of entire court, surrounded by a high fence topped off with barbed wire, as Washington and Warren escort the Acutes -- including Bromden, Ellis, a lobotomy case and several other Chronics -- through the gate onto the court, which is run down, with cracks in its surface and leaves scattered everywhere. Martini, who is carrying the ball, runs ahead, followed by Scanlon, where he starts dribbling the ball in a frantic circle, suddenly passes the ball to nothing. MARTINI (as he throws ball) Catch it! Catch it! The ball rolls to the corner. WASHINGTON Martini, there ain't nobody there, ya dumb goon! Go get the ball! MARTINI No! Martini turns away, his feelings hurt. Washington goes after the ball, when Martini goes running after it. MARTINI I get it! I get it! But Washington gives Martini a body check and beats him to the ball. Martini tries to get the ball from Washington, who is quite agile and teases him as he returns to the court where he and Warren start shooting baskets, freezing Martini and Scanlon out. The other patients just hang around or walk, as if in a prison yard. Cheswick stands in close proximity to McMurphy and Harding, who stand watching the action. McMurphy finally offers a cigarette to Harding, who accepts. They both light up. MCMURPHY Well, say, buddy, is that the usual pro-cedure for those Group Ther'py shindigs? Bunch of chickens at a peckin' party? HARDING A pecking party? MCMURPHY That's right, buddy. And you want to know who pecks the first peck? HARDING AND CHESWICK Who? Who? MCMURPHY Ah, come off it! It's that Big Nurse, that's who... The other Acutes have gathered around McMurphy and Harding. HARDING It's as simple as that. You've been on our ward six hours and have already simplified the work of Freud, Jung and Maxwell Jones in one grand analogy: it's a pecking party. MCMURPHY I'm not talking about Fred Yoong or Maxwell Jones, buddy, what I'm talkin' about is that crummy meeting and what that nurse did to you! HARDING Did to me? MCMURPHY Did to you and all the rest of you guys. BILLY Y-y-yes! Yes! Y-y-y-you s-s-saw wh wh-what she c-c-can do to us! MCMURPHY What did I see 'cept a grown man gettin' whipped so bad he can't laugh anymore. FREDRICKSON It's the questions she asks. MCMURPHY Tell 'er to go straight to hell! HARDING Miss Ratched is a competent psychiatric nurse, not some, some kind of monster pecking out our eyes! MCMURPHY (as calm as blue waters) She ain't peckin' at your eyes, buddy. McMurphy grabs Harding by his balls and Harding goes up on his toes. MCMURPHY She's peckin' at your balls, buddy, at your ever-lovin' balls. Harding is doubled over. SEFELT That kind of behavior will get you a P.A. rating, my friend. MCMURPHY P.A. What the hell is that? SEFELT Potential assaultive. FREDRICKSON Which gets you shipped up to Disturbed for a nice little zap job. MCMURPHY Huh? HARDING Electro-Shock Therapy, my friend. Five cents' worth of electricity and you are out of everybody's hair. MCMURPHY Tell 'er to go to hell anyway! HARDING And if you persist in your ways, they can always ship you over to Medical Surgery. MCMURPHY What for? HARDING Lobotomy! MCMURPHY Lobotomy? HARDING (pointing to lobotomy case) That! McMurphy looks. SHOT OF A LOBOTOMY CASE A vegetable, complete with two half-dollar scars in his forehead. MCMURPHY As he absorbs this bit of information the basketball rolls to his feet and he picks it up. MCMURPHY (to Harding) Is that your sense of humor or are you tryin' to say somethin'? HARDING Now, what would I be trying to say? Martini and Scanlon rush over and try to get the ball. SCANLON Gimme the ball! MARTINI No. Me! Me! WASHINGTON (O.S.) Pass the ball, McMurphy. McMurphy crosses to the court, bouncing the ball as he goes. When he reaches the court he holds the ball out to Washington, who reaches for it, but McMurphy snaps it back over his shoulder to Martini. MCMURPHY (turning to Martini) Pass it to me, Martini. Martini holds back. MCMURPHY C'mon, I'll give it back! Martini passes to McMurphy. MCMURPHY Atta boy, Martini. He passes it back to Martini, who laughs and passes it back to McMurphy, who passes it to Scanlon, who passes to McMurphy, who passes to Billy, etc. Bromden just stands watching. MCMURPHY (encouraging them) Back and forth, that's it. Shoot, man, we'll be takin' on the New York Knicks before we're through... McMurphy looks to see Big Nurse looking out a window at them. He catches her eye. She turns away. MCMURPHY (V.O.) Hey-ya, hey-ya, come on, come on, I'm waitin' on you suckers, you hit or you sit... INT. DAY ROOM - NIGHT The MUSIC is PLAYING. The TV is on the six o'clock news as McMurphy, cards in hand, is dealing blackjack to Cheswick, Harding, Sefelt, Billy and Martini. Fredrickson and Scanlon are looking on as Bromden eases up to the game. Cheswick is at the nurses' station talking to Big Nurse. SEFELT Hit me! MCMURPHY Hit, you say? Well well well and with a king up, the boy wants a hit. Whadaya know. So comin' at you and too bad, a little lady for the lad and he's over the wall and down the road, up the hill and dropped his load. SEFELT Boogered! McMurphy rakes in Sefelt's cigarettes, adding them to a pile of loose cigarettes, packs of cigarettes, several cartons of cigarettes. As Cheswick sits down, depressed: MCMURPHY 'Kay, place your bets. MARTINI (holding up a cigarette) What's this? MCMURPHY That's a dime, Martini. Martini breaks a cigarette in half. MARTINI Bet a nickel! MCMURPHY (to Cheswick) Whadaya bet, Cheswick? CHESWICK She won't give me any more cigarettes! MCMURPHY That okay. I'll take your marker. How many ya want? CHESWICK Lend me twenty. McMurphy counts out twenty cigarettes, marks it down on a piece of paper, and passes the cigarettes to Cheswick, who bets all twenty. The Sports have come on TV and McMurphy's attention is divided. MCMURPHY (checking the board) 'Kay, all bets are down, let's wheel 'em an' deal 'em. He deals the cards out, the first one face down, then the next one face up. MCMURPHY Big king... little deuce... another king... a lovely lady... big ten... and a trey... hey, hey, whadaya say? Ya hit or sit, Martini? MARTINI Hit me. MCMURPHY (hits with a picture) That's twenty up, Martini. (turning to TV, he shouts across room) Hey, Taber, who's pitching the opening game? Taber calls back something but it's lost in the other sounds. MARTINI Hit me! MCMURPHY Wait a minute, Martini, I can't hear a thing. (turning back to Taber) What? TABER (shouting back) Koufax against Ford! MISS PILBOW (V.O.) (over loudspeaker) Medication time! Medication time! Medication! MARTINI (simultaneously with Pilbow) Hit me! McMurphy slams his cards down, stands up, crosses the day room, heading for the nurses' station. He passes Washington, who stands there waiting to dispense orange juice. INT. NURSES' STATION - NIGHT as McMurphy enters. Nurse Pilbow is the only one there. MCMURPHY Pardon me miss, but would you mind turning... NURSE PILBOW (scared out of her wits) Stay back! Patients aren't allowed to enter the... Oh, stay back! MCMURPHY All I'm askin' is... Nurse Pilbow grabs at her cross, screams and shuts her eyes, holding the cross in front of her. NURSE PILBOW Oh, stay back, I'm a Catholic! Big Nurse enters from the nurses' lounge. BIG NURSE Mister McMurphy. Patients aren't allowed in here. MCMURPHY Sorry, ma'am. McMurphy steps out of the station, closing the door behind him. INT. DAY ROOM - NIGHT as McMurphy goes around to the front of the nurses' station and queues up behind the other Acutes who are getting their medication. McMurphy reaches the window, takes the cup, but doesn't take his pills. MCMURPHY (to Big Nurse) Pardon me, ma'am, can I ask you somethin'? BIG NURSE (politely) Yes, Mister McMurphy? MCMURPHY How 'bout turning off that music for a while so a man can hear himself think? BIG NURSE (pleasantly) That music is for everyone, Mister McMurphy. McMurphy leans in, placing his hand on the window. MCMURPHY (confidentially) Well, say, how 'bout easin' it down a bit so a man don't have to shout! BIG NURSE (aware of his physical proximity) Mister McMurphy, there are old men here who couldn't hear the music at all if it were lower. That music is all they have, and I wish you wouldn't lean against the glass there, your hands are staining the window. McMurphy jerks his hand away. MCMURPHY Sorry, ma'am... Sorry 'bout that... McMurphy breathes on the glass and wipes it clean with his sleeve. MCMURPHY Sorry to have bothered you. BIG NURSE Not at all, Mister McMurphy... McMurphy turns to walk away. NURSE PILBOW Your medicine, Mister McMurphy. MCMURPHY (turning back, he examines the contents of the cup) What's the horse pill for, honey? NURSE PILBOW It's just medication, Mister McMurphy, good for you. Now down it goes... MCMURPHY Look, miss, I don't like swallowing something without knowing what it is! NURSE PILBOW (stepping back a little) Don't get upset, Mister McMurphy... MCMURPHY I'm not upset. All I wanna know, for the lovva Jesus... BIG NURSE That's all right, Miss Pilbow, if Mister McMurphy does not wish to take his medication orally, he may... MCMURPHY No, that's okay, ma'am. Down it goes. McMurphy makes a big show of popping the pill in his mouth, holding his paper cup upside down, for all to see, then moving on to Washington, who fills it with orange juice. McMurphy gulps it down, not without some difficulty, then he smiles at all the concerned faces and crosses the room to the card table, where he sits to see the Acutes looking at him. HARDING Why didn't you tell her to go to hell, lover boy? TABER Yeah, whattsa matter, Mack, she too much for ya? McMurphy holds the pill up and flicks it into Harding's forehead. MCMURPHY You boys seem to think you've got a champ in there, huh? HARDING I don't see you scoring any points, buddy. And you're just the man for the job, right? MCMURPHY Hell, I couldn't get it up over old hatchet-face if ya paid me! HARDING She's not all that homely, Mister McMurphy. In fact, she must have been a rather beautiful young lady. The men look at Big Nurse. The patients look at the nurses' station. PATIENTS' POV Big Nurse is busy at her work. INT. NURSES STATION - BIG NURSE'S POV - NIGHT The patients looking at her. They turn back to their card game. REVERSE ANGLE CAMERA HOLDS on Big Nurse as McMurphy's VOICE is HEARD over INTERCOM. MCMURPHY (V.O.) (through intercom) Yeah, an' I'm tellin' ya, she's just an icy-hearted over-the-hump gal who never got enough of the old wham-bam to straighten 'er out... Okay, who wants a card? MARTINI (V.O.) (through intercom) Me. Hit me! Big Nurse looks up and studies the men gathered round the table. INT. MEN'S DORM - NIGHT The patients are asleep except for Bromden, who stands by the window looking out. McMurphy is asleep in the bed next to his. A beat when TURKLE, a fifty-year-old Negro night attendant, slightly drunk, lays a gentle hand on Bromden's shoulder. TURKLE Le's get back to bed, Mistah Bromden... Bromden allows himself to be led back to bed. Turkle fumbles around for the security belt, finds it, straps Bromden loosely in bed, then goes off clucking to himself. Bromden reaches under his bed and plucks a stale piece of gum from under the bed frame. He starts chewing it when he sees McMurphy looking at him. Bromden goes right on chewing and looking McMurphy right in the eye. MCMURPHY (whispering) Chief? I wanna ask ya somethin'. (sings) Oh, does the spearmint lose its flavor on the bedpost overnight? When you chew it in the morning, will it be too hard to bite? This question's got me goin', won't somebody set me right; does the spearmint lose its flavor on the bedpost overnight? McMurphy holds the last note, reaches over and rustles through his nightstand. MCMURPHY Here ya go, Chief... A small object lands on Bromden's bed. It is a fresh package of gum. Bromden picks it up. Examines it. Unwraps it. Deposits his old piece of gum under the bed frame, then inserts the fresh gum in his mouth and starts chewing. SERIES OF SHOTS SHOWING the MEN'S DORM, the empty DAY ROOM, TURKLE ASLEEP in the NURSES' STATION, EMPTY HALLWAYS, the NIGHT SUPERINTENDENT at her desk, MORE HALLWAYS... Ending on: INT. MEN'S DORM - SUNRISE ABERRATED SHOT of INSTITUTIONAL GROUNDS SEEN THROUGH STEEL MESH SCREEN -- as the sun rises above the treetops. REVERSE SHOT - BROMDEN looking out of the window. His face washed by the sunlight. His eyes have a vague look, almost vacuous, as... BIG NURSE (V.O.) (through loudspeaker) Good morning, boys. Rise and shine. Rise and shine. INT. MEN'S DORM - DAY as Washington, Warren and Miller roust the patients out of bed. BIG NURSE (V.O.) (through loudspeaker) Time to got up! Come on now, it's a beautiful day! Let's not straggle! Everybody up, up, up! McMurphy is in bed, not ready for the world, when Washington crosses to Bromden, who is looking out the window, and leads him off. WASHINGTON Le's go, Chief. Le's go get ourselves all nice and clean... (to McMurphy) You too, Mistah Mack-Murphy! Washington goes off with Bromden. CAMERA HOLDS on McMurphy as he slowly pulls it together and sits on the edge of the bed. He's naked as he opens the drawer to his nightstand and fishes around for a cigarette. MCMURPHY (looking in the drawer) What the... (looking around) Who the fuck stole my cigarettes! INT. DAY ROOM - DAY as the Acutes straggle past Big Nurse. BIG NURSE Good morning, Mister Sefelt, are your teeth any better?... Good morning, Mister Fredrickson... Good morning, Mister Harding; my, my, you've been biting your fingernails again... She sees McMurphy approaching, wearing a towel around his waist and a scowl on his face. BIG NURSE Mister McMurphy, patients are not permitted to run around in towels. MCMURPHY I wanna report a robbery! BIG NURSE On this ward? MCMURPHY Yeah, some creep stole my cigarettes! BIG NURSE Oh, I had them removed. MCMURPHY What for? BIG NURSE Patients are rationed to one pack of cigarettes a day. Bromden comes drifting by, going in the opposite direction. Big Nurse takes his hand. BIG NURSE (calling out) Mister Washington! Washington comes running. WASHINGTON Yes, Miss Ratched? BIG NURSE Please see to Mister Bromden. WASHINGTON (taking Bromden by the hand) Yes, Miss Ratched... Washington leads Bromden off. Big Nurse turns to Cheswick and several other Acutes, who have crowded around. BIG NURSE Now you boys hurry along and wash up for breakfast... (to McMurphy) You too, Mister McMurphy. MCMURPHY Well, say. How 'bout springing a pack of cigarettes loose? BIG NURSE After breakfast, Mister McMurphy, after breakfast. MCMURPHY You sure run a tight-assed ship 'round here, don't ya! BIG NURSE Yes. Now run along like a good boy and see that you wash up properly. WIDER ANGLE A beat, as the Acutes wait for McMurphy's next move, then: MCMURPHY 'Kay, let's go brush our teeth, fellas... McMurphy turns and crosses toward the washroom, singing at the top of his lungs. MCMURPHY Oh, Lulu had a baby, His name was Sunny Jim, She put 'im in a piss pot, To teach 'im how to swim. Oh, he swam to the bottom, He swam to the top, Lulu got excited, An' pulled 'im by his... Cock-tail ginger-ale, Five cents a glass, An' if ya don't like it Ya can shove it up your... Ask me no more questions, I'll tell ya no more lies. BIG NURSE watching McMurphy who removes his towel as he enters the washroom. INT. WASHROOM - DAY as McMurphy enters to see Warren take a firm grip on Bromaen's head and Washington goes to work on Bromden's face. CAMERA PUSHES INTO EXTREME CLOSEUP of Bromden's fearfully distorted face as the BUZZING SOUND of the ELECTRIC RAZOR INTENSIFIES until it is INSUPPORTABLE. INT. MESS HALL - DAY We SEE the attendants spooning food into the sucking pink mouths of the vegetables, a shade too fast for swallowing. MCMURPHY (O.S.) What's wrong with you guys? We SEE McMurphy seated with the Acutes, shoveling food down his gullet. The others are barely touching their food. MCMURPHY Why, if I'd have known how soft this place was gonna be, I'd have arranged for my transfer sooner... (holding up his orange juice) Look at this here, real orange juice! (slugging it down) Hooee, that's good. Why, you couldn't pay me to leave this place! (slaps his belly) All this place lacks is a couple of sweet gals to liven things up... He gets up and carries his tray to the proper place, where he notices Miller loading several other trays onto a dumbwaiter. Miller pushes a button and the dumbwaiter goes down. McMurphy crosses to the door to find it blocked by Washington. MCMURPHY Stand aside, Sam, Nature's callin'. WASHINGTON Nobody leaves here till seven thirty. McMurphy turns Washington over in his mind, then he looks up at the clock above the door. The time is 7:28. The second hand sweeping its way toward 7:29. MCMURPHY Don't know if I can hold it that long, Sam. WASHINGTON Tha's your problem. MCMURPHY (confidentially) Who do you like in the opening game, Sam? WASHINGTON Huh? MCMURPHY (turning away) Asshole. McMurphy turns and walks away. Washington watches him go. CHESWICK (V.O.) I wanna know about my cigarettes! INT. DAY ROOM - DAY A group meeting is in progress. Doctor Spivey is there. Cheswick is on his feet. BIG NURSE Sit down, Mister Cheswick. CHESWTCK (not sitting) No, I ain't no kid to have my cigarettes keep from me like cookies! Ain't that right, Mack! (McMurphy doesn't respond) Mack??? BIG NURSE Sit down, Mister Cheswick! Cheswick sits -- stunned. A beat; then: BIG NURSE (to Cheswick) You should have thought about that before you gambled all your cigarettes away. Is that clear? Cheswick sulks in his seat. BIG NURSE Mister Cheswick, is that clear! CHESWICK Yeah... BIG NURSE Good... (opens her book) Now, as I recall, we were making quite a bit of headway, last time, with Mister Harding's problem. So, does anyone care to begin? McMurphy's hand goes up. No one else's does. BIG NURSE Yes, Mister McMurphy. MCMURPHY Right... I've been givin' some serious consideration to what you told me about the democratic something of this therapeutic community of ours, an' I got a few things I wanna get off my chest, before we get back to Harding's problem. BIG NURSE Certainly, Mister McMurphy. MCMURPHY Right! McMurphy takes a folded sheet of paper out of his pocket, unfolds it, studies it and begins. MCMURPHY 'Kay... Item one... I've been thinkin' 'bout the age problem we got on this ward. You know, the young an' old livin' together, an' I was thinkin' what a great thing it would be if the music was turned up louder. Louder so the old fellas could hear better... Doctor Spivey nods with approval. Big Nurse doesn't. The Acutes are bewildered. MCMURPHY But then I got to thinkin', the music is so loud already, it makes it difficult for the young fellas to hold a decent conversation... Nods and murmurs of approval from the Acutes. Big Nurse can only wait for McMurphy's next move. MCMURPHY Well, I was turnin' this dilemma over in my head, when I happened to hit on that old tub room out there, an' I said to myself, McMurphy, I said, that place would make a great second day room. A sort of game room for the young fellas. Whadaya think, Doc? SPIVEY It is worth considering... Miss Ratched? BIG NURSE The point is well taken, Doctor, but do we have the necessary personnel to cover a second day room? SPIVEY Well, since it will be largely the Chronics who remain here, one aide and one nurse should easily be able to handle any situation that might occur. (he turns to the patients) What do you think, men, is it workable? CHESWICK Right, Doc. It's workable. Several other Acutes voice in the affirmative. SPIVEY Fine! BIG NURSE Good. Good. Yes, yes, I think we should give it a trial period. So! May we get back to Mister Harding's problem... (she sees McMurphy's hand up) Yes, Mister McMurphy? MCMURPHY I'm not finished yet. BIG NURSE Go on... MCMURPHY (looking at his list) 'Kay, item two. Tomorrow, and listen carefully to me, you ding-a lings. Tomorrow is the opening game of the World Series an' what I want is to take a vote on switchin' the group meetin' to later on in the day, so we can watch the ballgame. BIG NURSE Just a minute, Mister McMurphy! MCMURPHY Yeah? BIG NURSE Please understand, the schedule has been set up for a delicately balanced reason that would be thrown into turmoil by a switch of routines. MCMURPHY The hell with the schedule, you can get back to the schedule next week when the series is over. What I want is a vote on it right now! CHESWICK I second the motion! MCMURPHY Atta boy, Cheswick! BIG NURSE Very well! All those in favor, please raise your hands. Big Nurse casts a watchful eye over the patients. MCMURPHY (raising his hand) Okay, raise your hands. Only Cheswick's goes up. MCMURPHY Come on', what is this crap? Who wants to watch the World Series? Martini and Scanlon's hands go up. Several Acutes look at them. Scanlon and Martini's hands go down. McMurphy can't believe his eyes. BIG NURSE (politely) I count only two, including you, Mister McMurphy. Certainly not enough to change ward policy. McMurphy's hand goes down. BIG NURSE Yes. Now was there anything else you wanted to discuss, Mister McMurphy? MCMURPHY No way. CHESWICK No way. McMurphy starts tearing his sheet of paper up into a thousand pieces. BIG NURSE (checking her watch) Then I suggest we turn our attention back to Mister Harding's problem. Would anybody care to begin? She looks around. McMurphy is slouched in his chair. Harding puts his hands up. No one else does. BIG NURSE Yes, Mister Harding? HARDING Yes, thank you, Miss Ratched. Since our last meeting I have been reflecting, quite seriously, on the nature of my problem. Naturally, I'm referring to the capacity to obtain the necessary results in order to obtain... No, no. To personify the very existence of that relationship regardless of the function... (he stops, chews his lip, then continues) Regardless of the function, we will confront the question of... Yes. Yes. The question of... Existence... Relationship... Function... Confront... Yes, confronting us in the moment of deepest crisis... Yes, the crisis of our souls. Of our souls, which I am trying to fully understand the problem... the problem. Not to shut ourselves off, but somehow... Somehow to understand fully our capacity... to obtain... to personify... the question... existence depends... depends on the question... to reflect... to reflect... Harding, breaks off, sweating; he begins to knead his forehead and chew his nails. HARDING To reflect... ANGLE Silence as the CAMERA REFLECTS: the room, the patients, the staff, the hallways, the hospital, the grounds, the trees, the sky, ending on. MARTINI (V.O.) Hold it a minute. What's a man need to buy thum hotels? INT. TUB ROOM - NIGHT Bromden is pressed against the wall, watching McMurphy, Martini, Scanlon and Cheswick play a game of monopoly. The others are playing cards or just hanging around, a little chagrined. Billy is most disturbed by this separation. MCMURPHY You need four houses on every lot of the same color, Martini. Now let's go, for Christsakes. MARTINI Hold it a minute. There's a flurry of money from Martini, red, green and yellow bills blowing in every direction. CHESWICK Let's go, for Christsakes... MCMURPHY It's your dirty roll, Cheswick. Cheswick rolls the dice. MCMURPHY Snake eyes! Hoooeee, that puts you on my Marvin Gardens, which means you owe me three hundred and fifty dollars. Cheswick starts counting out the money. MARTINI What's thum other things? Hold it a minute. What's thum other things all over the board? CHESWICK (to Martini) How can a man concentrate with you sitting there hallucinating a mile a minute... MCMURPHY You just come on with that three fifty and Martini will take care of himself... Your dice, Scanlon. SCANLON Gimme those dice. I'll blow this board to pieces. Here we go... (throws the dice) Lebenty leben, count me over eleven, Martini... Martini picks up a house... SCANLON Not that one, you crazy bastard, that's my house... Scanlon grabs Martini's hand and tries to get his piece back. Martini won't let go. MCMURPHY Break it up, God dammit! Ain't I got enough troubles without you guys messin' around... can't depend on nobody. BILLY (from the next table) Some of us ha-ha-have b-b-been here a long t-t-time, Randle, and will b b-be here long after this Wo-Wo World Series of yours is oh-oh-oh, what's the use anyway... McMurphy slams his fist down on the table, sending the monopoly pieces flying. Martini is crestfallen. MCMURPHY What's the use! Hooee! It'd do you birds some good just to get a little exercise lifting your arms to vote! HARDING A baseball game isn't worth the risk, my friend. MCMURPHY It is to me! An' if I hafta bust way outta this place to see it, I will! CHESWICK Right! FREDRICKSON Oh, yeah? MCMURPHY Yeah! SEFELT Big man! MCMURPHY Yeah, how much you wanna bet? SEFELT On what? MCMURPHY That me an' my buddy, Cheswick, we'll be downtown tomorrow watchin' the ballgame while you suckers are sittin' around this goddamn nursery! HARDING And how do you propose to accomplish that little feat, my friend? MCMURPHY That's between me an' myself. So why don't you boys just shove off. I got some planning to do. McMurphy sits and resumes his game of solitaire. Martini and Scanlon are putting the monopoly game back together again. Bromden spots (or he thinks he spots) one of the attendants listening at the door. He wants to warn the others, but doesn't know how. SEFELT Maybe he'll just show Miss Ratched his big thing an' she'll open the door for him. Sefelt and Frederickson smile at each other. Bromden slides along the wall toward the door. MCMURPHY Maybe I'll just use that thick skull of yours as a batterin' ram, Sefelt. SEFELT Why, my head would just squash like an eggplant, McMurphy. Fredrickson and Sefelt snicker in their hands. MCMURPHY You think it's funny, huh? TABER Yeah, you don't know how to get outta this place! Bromden reaches the door and looks out. No one is there. MCMURPHY Put your money where your mouth is, Taber. TABER Yeah, yeah, you're a fucking phony, McMurphy! Bromden turns back to the room to see McMurphy slam his fist down on the table; the monopoly game goes flying. MCMURPHY (rising and turning on the others, who back off) You want me to show ya! You want me to show ya how! TABER Yeah, yeah, show me. Show me how! MCMURPHY All right! He looks wildly around the room, spots the machine, crosses to it and smacks it with his hand. MCMURPHY With this thing! I'm gonna put this thing right through the window, that's how! HARDING You mean you're going to try to pick that thing up and shove it through the window? MCMURPHY You're fuckin' A-right, I am! HARDING With your own two hands? MCMURPHY You heard me the first time! TABER I'll bet a buck you don't do it! MCMURPHY You're on! BILLY M-M-Mack, y-y-y-you c-c-can't l-l lift that thing! MCMURPHY Stand aside, son. Any more takers? SEFELT I'll bet a dollar. FREDRICKSON Me, too... MCMURPHY Right! MARTINI A nickel. SCANLON A dime. MCMURPHY Okay. Who else? HARDING Twenty-five dollars. MCMURPHY (knows he's taking a bad bet) Okay, Harding, you're on. HARDING Okay, sucker. MCMURPHY Yeah... Okay, stand aside, you guys! You're usin' up my oxygen! The Acutes stand aside and McMurphy steps up to the machine. He shifts his feet to get a good stance, wipes his hands on his thighs, leans down and gets hold of the levers on each side, and strains. Bromden watches, in awe of McMurphy. McMurphy turns loose, straightens up and shifts his feet for a better position. HARDING Giving up? MCMURPHY Just warmin' up. He grabs the levers again. His whole body shakes with the strain. For just a second we HEAR the cement GRIND. Then his breath explodes and he falls back limp against the wall. There's blood on his hands. No sound but his rasping breath. He opens his eyes and looks around. Then pulls out a pocketful of IOU's and tries to sort them out, but his hands are frozen into red claws. He throws the whole bundle on the floor and walks out. At the door, he turns back. MCMURPHY But I tried. Goddammit, I sure as hell did that much. Didn't I? McMurphy exits. REACTION SHOT OF ACUTES SHOT OF BROMDEN looking at the machine. A long beat. INT. MEN'S DORM - NIGHT The patients are getting ready for bed when Billy approaches McMurphy, who is in bed. BILLY M-M-Mack... McMurphy turns away from Billy, who crosses to the other side of the bed. BILLY M-M-Mack, I-I-I'm sorry! HARDING Leave him alone, he's pouting. BILLY Y-Y-Y-You leave him alone! MCMURPHY That's okay, kid... BILLY Th-th-then y-y-you're n-n-not m-m mad? MCMURPHY No, kid, it was my own stupidity, that's what pissed me off. BILLY O-o-o-oh... MCMURPHY What we're gonna have to do is pull this ballclub together for our next play. 'Kay! BILLY 'K-k-kay, Mack! INT. HALLWAY - DAY Washington, Warren and Miller are at the end of the hallway, listening to a small RADIO. We can HEAR the SPORTS ANNOUNCER giving the line-up for the opening game of the World Series. WASHINGTON'S POV Way down the hall, the Group Meeting is SEEN in progress. INT. DAY ROOM - DAY A Group Meeting is in progress and Big Nurse is honed in on Billy. BIG NURSE Try, Billy, try... Billy tries, but can't talk. The other Acutes are bored, restive, waiting. McMurphy has ants in his pants as Big Nurse speaks to Billy. BIG NURSE Was it your idea to visit her on Sunday? BILLY Y-y-y-yes... BIG NURSE Tell us about it... BILLY I-I-I-I c-c-c-came over S-S-S Sunday m-m-m-morning after ch-ch-ch church and br-br-brought her s-s some flowers, and I s-s-said, I said, 'C- C-C-Celia, will you muh muh-muh-muh- muh...' till the girl broke out l-l- laughing. Billy laughs at himself. BIG NURSE What was it about her that disturbed you so, Billy? BILLY (rubbing scars on his wrist) I was in luh-love with her. BIG NURSE Billy, were you afraid of her, or of her love? No response from Billy. BIG NURSE That was the first time you attempted to commit suicide, wasn't it? (no response) You must try to talk about it, Billy. MCMURPHY Jesus Christ, the man doesn't want to talk, so get off his back an' let's get on to some new business. BIG NURSE Mister McMurphy, the purpose of this meeting is therapy. Group therapy. MCMURPHY Yeah, yeah, the hell with that crap! The World Series is goin' on right' now an' that's therapy also! BIG NURSE Let me pose a question to the group: do any of you feel that Mister McMurphy is perhaps imposing his personal desires on you too much? MCMURPHY What the hell does that have to do with it? This is an important event and I want a vote on it! CHESWICK Yeah, let's vote on it! BIG NURSE Will one more vote satisfy you? MCMURPHY Yeah, it'll satisfy me. BIG NURSE Very well. What is it you're proposing, Mister McMurphy? MCMURPHY I'm proposing a re-vote on watchin' the ballgame! BIG NURSE (to the patients) A vote is before the group. MCMURPHY Okay, I wanna see the hands. I wanna see which of you birds has any guts. BIG NURSE Everyone in favor of changing the schedule raise his hand. The first hand to come up is Cheswick's. Then McMurphy's. Then Martini, Scanlon, Sefelt, Fredrickson, Billy and Taber. Harding doesn't vote. Big Nurse starts counting the hands. McMurphy, his face beaming, counts the hands. MCMURPHY That's it! We made it! BIG NURSE I'm sorry, Mister McMurphy, I count only eight. MCMURPHY So do I! BIG NURSE But there are eighteen patients on the ward, Mister McMurphy. MCMURPHY (the light dawning) You mean to tell me you're gonna count those old birds over there? BIG NURSE I'm sorry, Mister McMurphy, but you must have a majority to change ward policy. MCMURPHY Well, I'll be a son-of-a-bitch... BILLY B-But, M-M-Miss R-Ratched, y-you n never c-c-counted th-their votes before! A beat. BIG NURSE (losing ground) You mean you don't want their votes to count, Billy! BILLY I-I-I... MCMURPHY Well, screw that noise! McMurphy rises and, taking his chair, he crosses toward the television set. BIG NURSE Sit down, Mister McMurphy! McMurphy turns the TV on, flips the channel, then sits and waits for a picture. BIG NURSE I want you to turn the television off and return to your place! A picture swirls onto the TV screen. The ballgame is in progress (documentary footage to be used). Martini rushes over and joins McMurphy. Scanlon follows hot on his heels as -- MCMURPHY Hoo-wee! Man, all I need me now is a can of beer and a red-hot. Cheswick gets up and starts across when -- BIG NURSE Sit down, Mister Cheswick. Cheswick stops and stands there, helpless to move. CHESWICK Mack... McMurphy is deep into the game. INSERT - TV SCREEN On the screen a great play is taking place, and at the breathtaking moment the TV picture swirls into a little eye of light -- then nothing. BACK TO SCENE The Acutes are left with their mouths hanging open. BIG NURSE (V.O.) (over loudspeaker) I want you men to return to your proper places. The group meeting is not over! McMurphy continues looking at the blank TV screen as the Acutes look from McMurphy to Big Nurse, not knowing what to do next when -- MCMURPHY (jumping up and shouting at the blank TV screen) A hit! It's a hit! He's rounding first, heading for second. Here comes the throw. He's sliding... and... he's safe! He's safe! (McMurphy whistles and claps his hands) Hoo-wee! Whatta game! Whatta game! Come on, Koufax! Strike 'em out! The Acutes are stunned at McMurphy's outburst. BIG NURSE (V.O.) (over loudspeaker) Mister McMurphy, you are deliberately violating the rules!... MCMURPHY He's into his wind-up. Here comes the pitch. Strike on the inside corner! Sefelt, Fredrickson, Billy and Taber get up and cross toward the TV. Harding is the only one who doesn't join them. BIG NURSE (V.O.) (over loudspeaker) You men remain seated! MCMURPHY (focusing in on TV screen) He's into his wind-up. Here's the next pitch... and it's a hit! It's a hit! MARTINI (jumping up and down) I saw thum! I saw thum! SCANLON Me, too! Me, too! SEFELT Yes, I see it! I see it! MCMURPHY (on his feet, shouting) Ya-hoo, let's' play ball! The other Acutes pick up on McMurphy and start shouting at the blank TV screen. ACUTES Ya-hoo! It's a hit! A triple! It's a home run! A double! He's out! Whadaya blind? He's safe by a mile! (AD LIB) BIG NURSE (V.O.) (over loudspeaker) You boys, stop this and go to your assignments! Mister McMurphy, I want you to set an example... MCMURPHY 'Kay, it's two outs, bases loaded as Koufax steps up to the mound... Checks the runners... goes into his wind-up... Here comes the three-two pitch... And it's a fly ball into deep center. Mantle is going back. He's going back! Back! His back is up against the wall... and... he catches it! He catches it! The Acutes are shouting, cheering, stomping and dancing in each other's arms. BIG NURSE'S VOICE (over loudspeaker) You men stop this! Mister Washington! Miller! Warren! Big Nurse's last words overload the intercom and the system peaks out. Big Nurse's mouth continues to work in frantic circles as Washington, Miller and Warren rush to quell the uproar. INT. SPIVEY'S OFFICE - DAY Doctor Spivey is seated behind his desk, looking over McMurphy's papers. McMurphy sits facing him. SPIVEY How are you feeling? MCMURPHY Just fine, Doc... In fact, I think I might've put on a couple of pounds since I got here. SPIVEY Good, good, and how are you getting along on the ward? MCMURPHY Come on, Doc, you know as well as I do what's been comin' down in that loony bin. SPIVEY Yes, well, Miss Ratched feels that you're a disturbing influence on the other patients. MCMURPHY Shoot, Doc, the only one I'm disturbing is that old nurse and her fixed ways. That's all. SPIVEY Yes, that may be so, but in making a careful study of your past record, along with your behavior since you arrived here, my feeling is that you are not mentally ill and it is going to be my recommendation that you be returned to Pendleton where they are better equipped to handle your case. This is the kiss of death to McMurphy. MCMURPHY Come on, Doc, you must be kiddin'. SPIVEY I'm afraid not. MCMURPHY Jesus, that old nurse sure wants my ass in a sling, don't she! SPIVEY No, Mister McMurphy, it's just that we cannot offer you the guidance and assistance that you would receive at Pendleton. MCMURPHY Guidance and assistance! That's insane! Doc, ya gotta help me. SPIVEY I'm sorry, but I can't keep you here. MCMURPHY When? SPIVEY We'll let you know. REACTION SHOT of McMurphy. EXT. BASKETBALL COURT - DAY Washington and Warren are sitting on the grass watching Martini, Scanlon, Harding and Billy, who are positioned on the court waiting on McMurphy who is under the board with Bromden. Cheswick and the other patients hang around off court as: MCMURPHY (with great physical and vocal emphasis throughout entire scene) Okay, Chief. This is your spot! I don't want you to move from this spot! Never!... 'Kay, now, take the ball! Raise your hands, like this... McMurphy raises his hands above his head. Bromden follows suit. MCMURPHY That's good! That's a good boy, Chief! Now jump and put it in! McMurphy jumps. Bromden doesn't. McMurphy does this a couple of times. Each time Bromden remains motionless. HARDING He can't hear you! MCMURPHY I know, goddammit! You don't have ta tell me that! HARDING So why are you talking to him? MCMURPHY I'm not talkin' to him! I'm talkin' to myself! It helps me think! HARDING It doesn't help him. MCMURPHY Well, it doesn't hurt him either! (turning to Bromden) Does it, Chief! (no response) See, it doesn't hurt him. (to Bromden) Jump! An' put it in! McMurphy jumps. Bromden doesn't move. HARDING Well, I think you're just confusing him... Bromden jumps. MCMURPHY Ha! Did ya see that! (calling to Cheswick on the sidelines) Hey, Cheswick! CHESWICK Yeah, Mack? MCMURPHY Come here! Cheswick runs over. CHESWICK Yeah, Mack? MCMURPHY Let me get on your shoulders. CHESWICK Sure, Mack... McMurphy climbs on his shoulders. MCMURPHY 'Kay, wheel me around to the basket... 'Kay, easy, easy. Hold it! 'Kay, now. (he sees Bromden has walked away) Hey, Chief, come back! Bromden doesn't hear. MCMURPHY Cheswick, go get 'im! Cheswick goes after Bromden, catches him, and McMurphy latches onto him. MCMURPHY Now, wheel me to the basket. Cheswick, straining under the weight of McMurphy, turns toward the basket. INT. MEN'S DORM - NIGHT as Bromden, chewing his gum, watches McMurphy ease his way out of bed and silently cross down the aisle, past the sleep patients, toward the day room. INT. DAY ROOM - NIGHT as McMurphy crosses the day room, past the nurses' station where Turkle is asleep. INT. HALLWAY - NIGHT as McMurphy crosses down the hallway and stops at the mess hall door. He tries the handle. The door is locked. McMurphy looks up at the open transom, ponders it, then jumps up and grabs the door lintel. He tries to lift himself up, but can't make it when suddenly he is lifted up to the level of the transom by Bromden. McMurphy worms his way through the transom and disappears down the other side. CAMERA HOLDS on Bromden who waits. A long beat. There is a strange HUMMING SOUND HEARD O.S. Another beat, then the door opens. McMurphy smiles at Bromden. MCMURPHY (pointing to the floor) Wait here, Chief. (more to himself as he starts down hall) Heh, heh, I'll show 'em who's crazy. INT. MEN'S DORM - NIGHT McMurphy is nudging Cheswick awake. MCMURPHY Hey, Cheswick! Wake up! CHESWICK (waking up) Yeah, Mack, what is it? MCMURPHY I'm leaving. Goodbye! CHESWICK (sitting up) Where ya goin', Mac? MCMURPHY Shhh... McMurphy turns and crosses to Billy. MCMURPHY (waking Billy) Hey, Billy. Billy boy, wake up and say goodbye to your ol' buddy. BILLY (waking up) W-w-w-what is it, M-M-Mac? MCMURPHY So long, kid. BILLY Wh-wh-wh-wh... MCMURPHY Shhh... McMurphy turns from the bewildered Billy and crosses to Martini. MCMURPHY (nudging Martini awake) Psst! Hey, Martini, wake up! MARTINI (waking up) Yeah, Mac? MCMURPHY Bye-bye. McMurphy turns to Scanlon. MCMURPHY Scanlon! Hey, Scanlon, wake up! SCANLON (waking up) Yeah, what's up? MCMURPHY Shhhh. See ya around the ball park. McMurphy crosses to Fredrickson and wakes him. FREDRICKSON (waking up) What? What? MCMURPHY So long, Freddy. Don't take any wooden nickles. FREDRICKSON (sitting up) What? MCMURPHY Shhh... The other patients are sitting up, some of them getting out of bed as McMurphy turns to Sefelt who is snoring. McMurphy pinches his nose and Sefelt wakes up. MCMURPHY Bye-bye, pussy cat. McMurphy crosses to Taber. MCMURPHY (waking Taber) Up an' at 'em, Taber. TABER (waking up) What's going on? MCMURPHY Shhhh. Time to say goodbye. McMurphy turns and crosses to Harding. MCMURPHY Hey, Hard-on. Wake up, Dumbo. Harding opens his eyes and looks at McMurphy. MCMURPHY Ya owe me twenty-five bucks. HARDING What for? MCMURPHY I'm busting outta this place. HARDING That's nice. Send me a post card. Harding turns his back to McMurphy. MCMURPHY (turning to the others who have gathered around) So long suckers. BILLY Wh-wh-where ya going, M-M-Mac? CHESWICK How ya gettin' out, Mac? MCMURPHY Shhh... That's for me to know an' you to find out. TABER Bullshit. You ain't got no way out! MCMURPHY Oh, yeah? TABER Yeah! MCMURPHY How much ya wanna bet? TABER Ten bucks. MCMURPHY You're on. (to the others) Let's go! An' keep it quiet. McMurphy starts down the aisle. The others follow. INT. DAY ROOM - NIGHT as McMurphy and the other patients cross the day room, past the nurses' station, where Turkle shifts in his sleep. INT. HALLWAY - NIGHT as McMurphy and the patients cross down the hallway and enter the mess hall followed by Bromden. INT. MESS HALL - NIGHT Cheswick, Bromden, Martini, Scanlon, Sefelt, Fredrickson, Billy, Taber and McMurphy, stand looking at the dumbwaiter. BILLY Wh-wh-what's d-d-down th-there, M-M Mac? TABER Where's it go? MCMURPHY Out. It's the way out. So just keep it in your minds if ya ever wanna make use of it. TABER I don't believe it... FREDRICKSON Neither do I... SEFELT Me too... MARTINI I wanna see it... SCANLON Me too! Me too! BILLY Y-y-yeah, p-p-prove it, M-M-Mac! CHESWICK Yeah, show us, Mac! MCMURPHY Shhh. Wait a minute. You guys are gonna screw up my plans. So just gone on back to bed like nothin' happened. MARTINI No! I wanna go! SCANLON Me too! Me too! Several of the others chime in. MCMURPHY Shhh. Hold it down! I'll take you guys down, but ya gotta come right back up! 'Kay? PATIENTS (simultaneously) 'Kay, Mac! MCMURPHY Shhh... Remember this is a privilege, so I don't want none of you goons fuckin' up. Kay? PATIENTS (simultaneously) 'Kay, Mac! MCMURPHY 'Kay, let's see... (he checks the men out) Cheswick first... then Billy... Martini... Scanlon... Sefelt... Fredrickson... Taber an' the Chief... 'Kay PATIENTS (simultaneously) 'Kay! MCMURPHY Shhh! INT. TUNNEL - NIGHT The patients are waiting in the tunnel, which is used as an underground connecting system to the institutional buildings, as McMurphy gets out of the dumbwaiter. MCMURPHY (looking around) Where's Martini and Scanlon? CHESWICK (pointing) They went that way. MCMURPHY Charlie, ya can't ever let those goons outta ya sight! Understand! CHESWICK Right, Mack! Far down the tunnel Martini and Scanlon are briefly SEEN as they skitter across the tunnel. SEFELT There they are! MCMURPHY Hey, Martini! Psst! Scanlon! Ya dumb goons, come back here! (starting after them) Come on, let's get 'em! McMurphy starts down the tunnel. The others don't move. MCMURPHY (calling back) Come on, you guys, let's stick together. The Acutes follow McMurphy. They run down to the intersection and turn the corner. No sign of Martini or Scanlon. Somewhere a DOOR is HEARD SLAMMING CLOSED and FOOTSTEPS are HEARD coming their way. TABER Somebody's coming! MCMURPHY Shhh! (he listens then) This way! McMurphy hustles the men round the corner as two aides pushing a gurney come wheeling by. BILLY I-I-I th-th-think we sh-sh-should go back! SEFELT Yeah, my feet are gettin' cold. FREDRICKSON Mine, too! MCMURPHY We'll go back just as soon as we find those guys! 'Kay? ACUTES (simultaneously) 'Kay, Mack! The band takes off down tbe tunnel, calling out in loud whispers, "Martini! Scanlon! Psst! Where are you?" Down one tunnel and up another -- till they turn a corner and see an open door. They go to the door and peer out. Steps lead up to the outside world. MCMURPHY They must be up there! CHESWICK Yeah! BILLY L-L-Let-'s go b-back! Several Acutes express the same desire. MCMURPHY Come on, don't crap out on me now. We got two buddies out there! BILLY I-I d-d-don't know! M-M-Miss R Ratched g-g-g-g... MCMURPHY Fuck Miss Ratched! McMurphy crosses out and up the stairs. The Acutes look at each other. A beat, then: MCMURPHY (O.S.) Wow! Look at this! The Acutes don't move. MCMURPHY (O.S.) Hey, you guys, come on up here and take a gander at this! The Acutes inch their way out the door and up the steps. EXT. INSTITUTIONAL GROUNDS - NIGHT as the Acutes join McMurphy to see the moon low in the sky, silhouetting the trees and buildings, and Martini chasing Scanlon across the wet grounds. CHESWICK There they are! MCMURPHY (his attention elsewhere) Hey, what's that? SEVERAL ACUTES (simultaneously) What? Where? MCMURPHY (pointing) Over there! SEFELT (squinting) I don't know... BILLY I-i-it's a b-b-bus! MCMURPHY A bus? BILLY Y-y-yes, a b-b-bus! MCMURPHY Well, shoot, man! Whadaya say we take ourselves a little spin around the place. TABER We'll get in trouble... CHESWICK Yeah, maybe we ought to go back, Mac... FREDRICKSON Yeah, my feet are cold... SEFELT My feet hurt... BILLY I-I-I'm w-w-wet... MCMURPHY (walking towards the bus) Go ahead! Go back! The Acutes cast frightened looks at each other then go after McMurphy. Martini and Scanlon join them. BILLY H-H-How d-d-do we g-g-get b-back? McMurphy has reached the bus and begins checking it out. TABER Yeah, take us back to the dumbwaiter, Mac. MCMURPHY I'm not going back in there. I told ya this was a one way trip. Now stand aside. McMurphy lifts the hood to the bus and begins jumping the wire. The Acutes stand helplessly by as the engine turns over and catches. McMurphy closes the hood and gets on the bus to a chorus of, "Please, Mac, take us back... Please..." McMurphy puts the bus in gear and the bus starts moving. The Acutes start running alongside of the bus calling out for McMurphy to take them back. MCMURPHY (shouting to them) Get on assholes! They leap on. EXT. INSTITUTIONAL GROUNDS - ANOTHER ANGLE - NIGHT As the bus makes a full circle and stops alongside of Bromden. MCMURPHY (waving Bromden onto the bus) Come on, Chief! Let's go! Bromden boards the bus. McMurphy lets out a war whoop as he closes the door and starts the bus moving. EXT. INSTITUTIONAL GROUNDS - NIGHT as the bus picks up speed and churns across the grounds. INT. BUS - NIGHT the Acutes look out with wild-eyed excitement. EXT. INSTITUTIONAL GROUNDS - NIGHT as the bus careens out the main entrance and down the thoroughfare. INT. BUS - NIGHT as the Acutes cast worried looks at each other. EXT. HIGHWAY as the bus turns a corner past a sign that reads: DALLES 6, SALMON CREEK 8, DEPOE BAY 11, CAPE LOOKOUT 22, PORTLAND 46 INT. BUS - NIGHT McMurphy is singing at the top of his lungs. MCMURPHY (singing) Your horses are hungry, That's what she did say, Come sit down beside me, An' feed them some hay. My horses ain't hungry, They won't eat your hay-ay-aeee... BILLY H-Hey, M-Mack. MCMURPHY Yeah, kid? BILLY W-W-Where we g-g-going? CHESWICK Yeah, where we going? MCMURPHY I dunno. Where do ya wanna go? MARTINI I wanna go home! SCANLON Yeah, it's cold! MARTINI I'm hungry. TABER Yeah, we'll miss breakfast! MCMURPHY Breakfast! Hell, I know just the place where we can chow down an' thaw out before we shoot back on home. 'Kay? BILLY 'K-Kay, M-Mack! MCMURPHY (singing) Soo, fare-the-weel, darlin'. I'm gone on my way, My wagons are loaded, My whip's in my hand... DISSOLVE TO: EXT. DEPOE BAY - DAWN The dawn is just cracking the horizon as the bus pulls up behind a corroded tin sheet building. A sign reads: DEPOE BAY, SEAMANIS SERVICE, SPORT FISHING, BOATS FOR CHARTER Beyond the boathouse is the dock with several fishing trawlers and beyond that -- the open sea. The door to the bus opens and McMurphy gets out. MCMURPHY (as he steps out of the bus) This is it! as McMurphy walks directly to the wall, alongside the door, lifts the edge of the siding, comes up with a key, opens the door and enters. A beat, then the lights go on inside the building. SHOT OF BUS The Acutes' faces pressed against the windows, looking out. INT. SEAMAN'S BUILDING - DAWN as McMurphy lifts a cold bottle of beer out of a Coca-Cola cooler, opens it, takes a long pull on the bottle, then crosses to the heater and turns it on. Nearby, a sign reads: ALL EQUIPMENT CAN BE RENTED On the walls are old photographs of people with their prize catches. Fishing equipment, tackle and wet weather gear crowd the room. There is a counter which McMurphy walks behind and takes a bag of potato chips off a wall rack, full of beer nuts, hostess cupcakes, etc. McMurphy eyes the keyboard to the fishing boats. Several keys are there. INSERT - KEYBOARD with the names of the fishing boats: The Lark. Mary Ann. Noel. Annabella. The Capri. INT. BUILDING DEPOE BAY - DAWN McMurphy studying the board as the Acutes stick their heads in the door. They're all miserable and cold. MCMURPHY Come on in an' warm up. You can put some of that gear on to keep warm. An' there's beer an' Coke in the cooler an' some food over here... They hesitate. MCMURPHY Come on, don't be shy now, you're among friends. The Acutes come in, Bromden bringing up the rear. Martini goes for the candy. Scanlon goes for the Coke. Sefelt and Fredrickson go for the wet weather gear and boots. The others go to the heater. Bromden stands in the middle of the room. MCMURPHY Why don't one of you boys help ol' Chief there get warmed up? Billy goes to Bromden's aid as McMurphy crosses to a window and looks out. McMurphy turns and looks out the window. A long beat. CHESWICK When do you think we'll be going back, Mack? MCMURPHY (looking out the window) Come here a minute, Cheswick. You, too, Sefelt. Hey, all you guys, come over here, I wanna show you somethin'. The Acutes cross to the window and look out, saying, "What? What is it? Whadaya lookin' at? I don't see a thing." MARTINI Oh, look at the pretty boat. ACUTES' POV Nestled against the dock is a trim fishing trawler, beautifully framed in the bay window. MCMURPHY (V.O.) Yeah, did you ever see a boat like that? Why, I'll bet you could go all the way to Hawaii in that boat! Tahiti... the Philippines... Tibet... CAMERA HOLDS on FULL SHOT of the boat. BACK TO SCENE A long beat, then we SEE the Acutes, wearing wet weather gear, complete with boots and squall hats, each man carrying soda pop, food, fishing equipment, etc., being led onto the boat by McMurphy who carries a case of beer. EXT. FISHING BOAT - DAWN as a white gorge of smoke and water pours from the stern and the boat pulls away from the dock, leaving a boiling foam of water. INT. SHIP'S BRIDGE - DAWN The entire crew is jammed into the bridge, McMurphy behind the wheel. MCMURPHY'S POV as the dock and other fishing boats slip by. EXT. HARBOR JETTY - DAWN as the boat passes out of the harbor and heads for the open sea. DISSOLVE TO: EXT. BOAT DECK - DAY The sun is up. The engine is dead. The ballgame is HEARD OVER ship's RADIO. The men are scattered over the boat. Taber and McMurphy, beer in hand, are sunning themselves, listening to the ballgame. On the stern Martini and Scanlon are trying to rig up a pole. Fredrickson gives them a hand. Billy has a line out. So does Bromden and Sefelt who is seated nearby, fishing the ocean floor when he suddenly gets a bite and looks over the side, surprised. His line goes straight down into the depths. His glasses fall off into the water. Sefelt sighs and slowly begins reeling his line in. Billy gets a strike and starts fighting the fish. BILLY H-H-Help! MCMURPHY Ease up on the star drag, keep the tie up, up and work hell outta that fella. Martini gets a strike and loses it. Scanlon comes up and starts to take the pole from him. SCANLON My turn. MARTINI (hanging onto the pole) No. They start a tug of war. Fredrickson tries to break it up, when he gets a strike and his line spins out. Billy's fish breaks into the sun in a shower of silver scales, and he gets so excited he lets the end of the pole go down and the line snaps. MCMURPHY Up, I told you! Keep that tip up... up! You had you one big silver there. Fredrickson lands his salmon in a spray of scales and blood. The fish is flopping all over the deck. Billy grabs the fish and wrestles it down. Bromden lands a fish when -- SEFELT (O.S.) Oh, my God! I see something! Everyone rushes over to Sefelt and looks down into the water. REVERSE SHOT Deep down in the water a gigantic white form slowly rises out of the depths, becoming solid, alive. SCANLON Jesus God... MARTINI What is it? FREDRICKSON We'll never get that on the boat. The fish is now clearly SEEN. BILLY (calling) M-M-Mack! M-M-Mack! McMurphy pulls himself up. MCMURPHY What is it, kid? BILLY C-C-Come here and l-look at th this! McMurphy crosses down and looks over the side. MCMURPHY He's a big flounder. Could weigh two, three hundred. You got to lift him in with a winch. FREDRICKSON Does that mean we have to cut him loose? MCMURPHY Like hell we will! We got the muscle standing right here. All we need is a couple gaffin' hooks and some rope. BILLY I-I-I'll get them. MARTINI Me, too. SCANLON Me, too. McMurphy turns to Sefelt who is sweating under the strain. MCMURPHY Steady does it, Sefelt! SEFELT'S POV The massive fish is closer to the surface. DISSOLVE TO: BACK TO SCENE All the men are standing by as gaffing hooks and rope are made ready. The fish is gaffed and slowly hauled out of the water. McMurphy and Bromden lean over, held by the others, grab the big fish by its gills and, with a heave-ho, the fish is slid in and flopped to the bottom of the boat. The men go sprawling over the big fish. There's a lot of laughter, handshakes and back-slapping going on when -- VOICE (over bull horn) All right! Stand to! Stand to! The men look up. REVERSE SHOT - ACUTES' POV Off the bow is a Coast Guard cutter, and on the deck stands Doctor Spivey, Washington, Warren and several other aides dressed in white. INT. HALLWAY - STATE HOSPITAL - LATE AFTERNOON as the Acutes, sunburned and covered with dried brine and fish scales, are escorted down the hallway by Washington, Warren and Doctor Spivey. It's a triumphant procession as they wheel the giant flounder with a sheet over it on a gurney, holding up their catches for all to see. McMurphy is lagging a bit behind as they pass the mess hall where workmen are busy installing a security screen over the transom, while inside the mess hall another workman is SEEN welding a lock on the dumbwaiter. INT. DAY ROOM as Big Nurse steps out of the Nurses' Station. SPIVEY (to Big Nurse) Here they are, Miss Ratched. Safe and sound! BIG NURSE Good. Well, boys, did you enjoy yourselves? A burst of exuberance as the inmates hold up their fish. FREDRICKSON (to Sefelt) Show her the one you caught, Jim. Sefelt whips the sheet off the big fish. BIG NURSE My, my... No one can find superlatives or gestures big enough to describe his catching of the big fish, "brought it in himself" AD LIB. MCMURPHY Yeah, ya should've come along with us, Miss Ratched, an' gotten a little sun on your cheeks and maybe caught a fish or two. BIG NURSE Mr. McMurphy, you had no right to take these men out with you! MCMURPHY (loudly) Yeah, that's kind of crazy, ain't it! BIG NURSE No, it was irresponsible! Big Nurse turns to the others, leaving McMurphy dangling. BIG NURSE (respectfully) That's quite a catch, Jim. What are you going to do with it? MARTINI (crossing to McMurphy) Gimme a cigarette! SEFELT I thought I might donate it to the mess hall. MCMURPHY (reaches in his pocket; he has none) I don't have any. AD LIBS: "They could use it." "Take a picture first." BIG NURSE That's an excellent idea. Now, why don't you boys place your fish on the gurney and we'll see to it that everyone enjoys a fresh fish dinner. The men toss their fish on the gurney as Martini joins the group and starts hitting the others up for a cigarette. All he gets for his troubles are a series of "No," "Get lost," "I don't have any." BIG NURSE Thank you, boys. Now if you'll just go along with Mister Washington to the showers, supper is in half an hour. The inmates start AD LIBBING and laughing, "We're not hungry," as Martini sees Harding light up a cigarette and crosses to him. MARTINI (to Harding) Gimme a cigarette! HARDING No! MARTINI Why not? HARDING I'm not running a charity ward... Martini snaps the cigarette out of Harding's hand, and takes off with Harding chasing him. Martini dashes around the room, pulling chairs in Harding's way, taking a drag on the cigarette whenever he can. Harding corners Martini, but Martini tosses the cigarette over Harding's head to Scanlon. Scanlon takes off with Harding after him, absolutely livid. Scanlon passes to Billy who passes to Martini. Everyone in the room is getting wired. Martini throws it away as Harding jumps him and nails him to the floor. MARTINI (holding his hands up; empty) All gone! All gone! Don't hit! Don't hit! Harding starts pounding Martini's head on the floor when Billy and Scanlon jump Harding and start pounding him. Fredrickson picks up the cigarette and stands there watching the fight as he smokes the cigarette as Washington, Warren and Miller move in and start separating the men. McMurphy, watching the fight, sighs, then deliberately crosses toward the Nurses' Station. INT. NURSES' STATION - MISS PILBOW'S POV - DAY as McMurphy reaches the Nurses' Station and puts his hand through the plate glass window, his fist stopping inches from Miss Pilbow's startled face. Miss Pilbow's scream is added to the SOUND OF THE SHATTERED WINDOW. INT. DAY ROOM - DAY McMurphy reaches in and picks up his carton of cigarettes. MCMURPHY I'm sure sorry, ma'am. Gawd, but I am. That window glass was so clean I didn't even see it... McMurphy turns and crosses back to the day room, opening the carton of cigarettes as he goes. MCMURPHY You guys want cigarettes! Here's the goddamn cigarettes! McMurphy starts tossing packages of cigarettes into the mass of struggling bodies as Washington grabs McMurphy by the arm and tries to wheel him away. McMurphy shakes him off and throws a pack of cigarettes in Washington's face. Washington goes after McMurphy, grabs him, and drives him against the wall, right next to Bromden, who watches as McMurphy shoves Washington away, goes into a crouch and starts circling Washington. Washington dances in and out, chipping away at McMurphy's face until McMurphy drives his fist square into Washington's white, starched chest, drawing him against the wall. McMurphy moves in for the kill. WASHINGTON Warren! Miller! The Acutes have stopped fighting and are watching. McMurphy tags Washington, then is grabbed from behind by Warren, who pulls him back. Washington moves in and goes to work on McMurphy, when Bromden grabs Washington, from behind, in a bear hug. Miller jumps on Bromden's back. Bromden, still holding Washington, backs up into the wall, squashing Miller, who screams out. EXT. HALLWAY TO DISTURBANCE WARD - LATE AFTERNOON as McMurphy, bruised from the fight, and Bromden, handcuffed to a special belt, wait while an aide unlocks the first of a double set of heavy security doors. The first door is locked, leaving McMurphy, Bromden, and the three aides crammed in the small space between the two doors while another aide opens the second door and McMurphy and Bromden step through, followed by the aides. INT. DISTURBANCE WARD - LATE AFTERNOON As the aide locks the door behind them, the other aides lead Bromden and McMurphy toward a bench, where they unshackle them. AIDE (pointing to a bench) Wait over there... The three aides go down the hall, leaving McMurphy and Bromden who sit and look at their new surroundings. There is a man sitting next to them. MCMURPHY'S POV The architecture is the same as the ward we left below, but it is the atmosphere that is different. A heaviness pervades all. Heavily sedated patients sit isolated from each other. Others stand shifting from one foot to the other, while others walk up and down the hallway, their locomotive powers not unlike that of Parkinson's Disease (caused by too much sedation). Suddenly, one patient gets up, speaking very angrily, shouting incoherently at no one; he crosses the hall and enters a side room. An aide goes in after him. A long beat, then the aide comes out with the patient and gently leads him back to his seat, talking softly to the man. Further down the hallway, a gurney is wheeled out of the east room with a patient lying on it, out cold; he is wheeled further down the hall to the men's dorms, where he is left to sleep it off. Two aides come out of the EST room and head in McMurphy's direction, where one of the aides motions to the patient sitting next to McMurpby. AIDE (approaching him very gently) Come on, Joey... this isn't going to hurt you... good for you... make you feel better... The patient clings to the bench, terrified, weeping. The aides peel him off the bench and escort him down the hall to the EST room. ANOTHER ANGLE As McMurphy watches the patient go, he takes out a package of gum. Takes a stick for himself and gives Bromden one. McMurphy turns back to his own thoughts. BROMDEN Thank you. McMurphy looks up. A long beat. MCMURPHY Say it again. BROMDEN Thank you. Another beat. MCMURPHY Say... God Bless America! BROMDEN God Bless America. MCMURPHY (slapping his thigh) Goddammit, you sly son-of-a-bitch! Does anybody else know? BROMDEN No. MCMURPHY Shit! This is too much! (his mind going a mile a minute) Chief, I tell you we're gonna bust outta this place an' make it all the way to Canada before they know what bit 'em. BROMDEN Ca-na-da... MCMURPHY Ya like that, Chief, huh? BROMDEN Yeah... MCMURPHY Yeah, well, well, well. 'Bout time the rest of the world got a gander at Big Chief Bromden cuttin' down the boulevard, stopping just long enough for virgins... Oh, man, I tell you, I tell you, you'll have women trippin' you and beating you to the floor... BROMDEN Ca-na-da... MCMURPHY Shhh, Chief, don't talk. Never talk! Remember, this is just between you an' me. Do ya understand? Bromden nods. NURSE ITSU (O.S.) Mister McMurphy. McMurphy turns to see Nurse Itsu. The two aides are standing behind her. MCMURPHY (recognizing a long- lost friend) Hey, how ya doin'? NURSE ITSU Fine, thank you. (offering pills) Here, please take these. MCMURPHY What are they? NURSE ITSU To help you relax... please... McMurphy takes the pills and downs them. Bromden takes his pills. NURSE ITSU Please take off your shoes. McMurphy takes off his shoes. NURSE ITSU Please follow me. MCMURPHY (rising, thumbs up) You an' me, Chief. McMurphy, flanked by the two aides, follows Nurse Itsu to the EST room. MCMURPHY (to Itsu) You know, I never got your name. NURSE ITSU (stopping at the door) Miss Itsu. (indicating the room) In here, please. MCMURPHY You comin' in to hold my hand? NURSE ITSU No... MCMURPHY Yeah... Well, see ya around, Itsu. Itsu smiles at McMurphy. MCMURPHY Yeah... McMurphy gives Bromden one last wave and goes in. Bromden watches the door close behind McMurphy. INT. EST ROOM - LATE AFTERNOON There are four other aides in there, standing around an empty gurney. A DOCTOR is at the head of the gurney, a NURSE alongside of him. MCMURPHY (as he enters) Hi... McMurphy looks around at the six aides. MCMURPHY You boys can take a cigarette break now... The Nurse smiles at him. DOCTOR That's all right, Mister McMurphy, just climb on the bed and lie down... MCMURPHY Whatever you say, Doc... McMurphy climbs on the bed and lies down. The Doctor moves around to the side of the bed and takes McMurphy's pulse, while the Nurse dips her fingers into a jar of salve. DOCTOR (to McMurphy) This won't hurt you at all... MCMURPHY Uh, uh... The Nurse starts applying salve to McMurphy's temples. MCMURPHY What's that for? NURSE Conductant. MCMURPHY (smiling up at her) Surely, goodness and mercy will follow this, eh, honey? DOCTOR (holding a mouthpiece) Please, put this in your mouth... McMurphy takes the bit in his teeth. The Doctor moves back to the head of the gurney and places the thongs on McMurphy's temples. The Doctor nods to the six aides, who move in and gently place their hands, in a very professional manner, on McMurphy's knees, hips and shoulders. Once set, the Doctor turns to his controls. SHOT OF MCMURPHY as he looks around, not nearly as scared as he is mystified by the whole process, when suddenly, without warning, McMurphy is hit by the shock. His face is a contorted mask of surprise and pain. His whole body caught in a sudden spasm. A moment of rigidity, then McMurphy passes out and his body relaxes. Another moment, then a series of violent body spasms begin flowing down his body. Now the aides' function is very clear, as they press down, holding McMurphy firmly to the gurney, until the last spasm subsides. SLOW FADE OUT TO: FADE IN: INT. DAY ROOM - DAY A Group Meeting is in progress. Doctor Spivey is there. BIG NURSE (to Sefelt) It's been brought to my attention that you're giving Mister Fredrickson your medication, aren't you, Mister Sefelt? SEFELT It's the Dilantin that makes my gums soft! BIG NURSE Now, Jim, you must be honest with yourself. At the end of the hall, the door opens and McMurphy and Bromden enter the visitors' room, accompanied by Washington and Warren. They cross to the security gate, open it and pass into the hallway. Washington and Warren disappear into a room, leaving McMurphy and Bromden, who walk slowly towards the day room. The Group Meeting continues over as Fredrickson raises his hand. BIG NURSE Yes, Mister Fredrickson? FREDRICKSON I wanna know why the dorm has to be locked in the daytime and on weekends? TABER Yeah, why can't a fellow even have the weekends to himself? CHESWICK (standing up) Yeah, whadabout our cigarettes? BIG NURSE Sit down, Mister Cheswick, and wait your turn! He sits. BIG NURSE If the dorms were left open, you would just return to bed after breakfast... FREDRICKSON So what? Is it a mortal sin? I mean, normal people get to sleep late on weekends... BIG NURSE With few exceptions, time spent in the company of others is therapeutic, while every minute spent brooding alone only increases separation. CHESWICK (jumping up as he sees McMurphy) Mack! Everyone looks at McMurphy and Bromden. Bromden is as he always was, as McMurphy slowly drags himself into the day room. He looks like a zombie as he takes the room in. Then, suddenly, he slaps his thigh. MCMURPHY Hey, hey, you ding-a-lings, you creeps, you goons... He enters the room doing a jig. The Acutes' faces light up. MCMURPHY I got ten thousand watts and hot to trot. First woman takes me on is gonna light up like a pinball machine an' pay off in silver dollars... McMurphy does a full circle of the room, greeting the Chronics. But it's an effort for him. His voice is slower, his footwork slightly out of sync. BILLY H-h-how's it g-g-going, Mack? MCMURPHY Just fine, Billy boy, just fine. Full of piss an' vinegar! They checked my plugs and cleaned my points... BIG NURSE Mister McMurphy. MCMURPHY (turning) Yes, ma'am? BIG NURSE Welcome back. MCMURPHY Thank you, ma'am. BIG NURSE I hope everything is settled. MCMURPHY Ma'am, I'm as gentle as a puppy dog. Why, I haven't licked the tar out of an aide for two weeks! Hi ya, Doc! Spivey greets McMurphy. BIG NURSE Good. Why don't you join us? MCMURPHY Why, thank you, ma'am... (he gets a seat and sits heavily) Whew. Man, I tell you, that place up there is somethin' else! (pulling it together) Well, ya boys been practicin' up for the big game? (no response) I figured as much... BILLY W-W-We h-heard y-you w-were n-never c-c-coming back! MCMURPHY Yeah, well, let me tell ya somethin'... While I was up there gettin' in-lightened, I came up with one hellava plan... A great sadness suddenly sweeps over McMurphy's face and he breaks off. BILLY Wh-wh-what p-plan, M-Mack! No response from McMurphy. HARDING What's your plan, Mack? MCMURPHY (coming out of it) Plan?... Oh, yeah, the plan... Yeah... McMurphy gets up and crosses to the window, where he joins Bromden who is looking out the window. REACTION SHOT of the others as they look at McMurphy and each other with quizzical looks. INT. GYMNASIUM - DAY On the court both teams are lined up taking photographs for the local newspaper. The bulb pops a few times. PHOTOGRAPHER (wrapping it up) Thank you, boys. The line breaks up. McMurphy crosses to Big Nurse, who sits in the front row. It's the big Saturday game between the Acutes and Aides, as spectators enter the gymnasium already half-filled with male and female patients, staff members and visitors. Doctor Spivey stands nearby at the timers' table, basketball in hand, whistle around his neck, talking to the timer. MCMURPHY Miss Ratched, would you please save a space for my aunt? She's comin' down from Portland. BIG NURSE Certainly, Mister McMurphy, with pleasure. MCMURPHY Thank you, ma'am... O.S. the WHISTLE BLOWS. MCMURPHY Gotta go now, ma'am... BIG NURSE Yes. Good luck, Mister McMurphy. MCMURPHY Thank you, ma'am. McMurphy crosses onto the court. Big Nurse watches him go. BASKETBALL COURT Doctor Spivey is at half-court, basketball in hand as the players take up their positions: Washington faces McMurphy for the jump at center. Harding and Billy are playing guard with Warren and Miller on them. Martini and Scanlon are in the forward position, with the two white Aides covering them. The other Acutes sit on the bench as substitutes. MCMURPHY (to Washington) Hey, Sam, bet ya two bucks ya lose. WASHINGTON Shit, man, tha' ain't even worth considerin'. MCMURPHY How 'bout twenty? WASHINGTON Now you talkin'. MCMURPHY Bet! WASHINGTON Bet you ass... MCMURPHY (to Spivey) You're a witness, Doc! SPIVEY Me? I didn't hear a thing! Let's play ball! Spivey checks the court, then blows the whistle as he tosses the ball into the air. Washington taps the ball to Warren, who passes to Miller, who hands off to Washington, who goes up for a layup. Two points. The Acutes haven't even moved from their spots. The scoreboard reads: AIDES 2 PATIENTS 0. MCMURPHY (taking the ball out) Come on, wake up, you ding-a-lings. The game is on. The Acutes snap to and McMurphy passes the ball into Harding, who fiercely dribbles down court, McMurphy running alongside him. MCMURPHY Pass the ball, Harding... (no pass) Don't hang onto it... (no response) Pass it, goddammit! Harding dribbles into the corner and finds himself bottled in by two Aides. MCMURPHY Harding, here, over here! The ball is snagged from Harding's hands by an Aide, who passes it down court to another Aide, who turns and makes another basket. SCOREBOARD: AIDES 4 PATIENTS MCMURPHY (to Harding) Ya deaf! I said pass the ball! HARDING What are you talking about??? Everybody was covered!!! Everybody was covered!!! MCMURPHY I was open! Come on, let's play ball! McMurphy and Harding turn to see Martini, down court, passing the ball into Billy. WASHINGTON (slapping his hands) Gimme tha' ball! Billy panics and hands the ball to Washington, who turns around and makes another basket. Score: AIDES 6 PATIENTS 0. McMurphy and Harding run down court, McMurphy taking the ball away from Martini, who would like to bring it in. MCMURPHY (to Washington) What kind of crap is that??? WASHINGTON Jus' playin' the game, sucker... Washington chuckles and trots on down court. MCMURPHY (to Martini) Get down there where ya belong, Martini. You, too, Scanlon. (tosses ball to Harding) You take it out, Harding! Harding takes the ball and passes it in to McMurphy, who turns and dribbles down court exactly like Harding did. HARDING (running alongside McMurphy) Pass the ball! (no response) Pass it! (no response) Pass it! Pass it! I'm open, McMurphy, pass the ball! McMurphy stops dead in his tracks and flings the ball at Harding. The ball bounces off Harding's head and goes out of bounds. The WHISTLE BLOWS. Harding spins a few times. MCMURPHY (O.S.) Harding, get back here! Harding turns to see the other team go by. They score another basket. Score: AIDES 8 PATIENTS 0. Billy takes the ball and passes into McMurphy, who turns to see CANDY enter the gym, with her friend, ROSE. MCMURPHY (calling out) Candy. Candy, over here. (to Doctor Spivey) Hey, Doc, time out. SPIVEY (blowing his whistle) Time out! McMurphy tosses the ball to Spivey, then crosses the court to Candy and Rose, who have had a couple of drinks on the way down. CANDY Mack, you sonofabitch, you ol' fucker, how've you been? MCMURPHY (swinging her around in his arms) Terrific, baby, terrific! (to Rose) Hi ya doin', Rose? ROSE Okay, Mack! (looking around) Whoowe, Candy girl, are we in an insane asylum or ain't we? MCMURPHY (to Candy) How's your ass been holdin' up, honey? Candy pokes her ass at McMurphy. He gives it a squeeze. O.S. a WHISTLE BLOWS. MCMURPHY Come on, girls, we're holding up the game! McMurphy leads the two ladies across the court. The entire gymnasium is riveted on the three of them. As they reach Big Nurse: MCMURPHY Miss Ratched, this is my Aunt Candy and her friend Rose... Greetings are exchanged. MCMURPHY Miss Ratched was kind enough to save you ladies a seat... The two ladies wedge themselves in next to Big Nurse. O.S. the WHISTLE BLOWS. MCMURPHY Talk to ya at half time! McMurphy turns and crosses onto the court. CANDY (calling after him) Sock it to 'em, kid! ROSE (taking in the players) Are they all crazies? BIG NURSE No. ROSE Oh, just those guys dressed in white? BIG NURSE No, miss, it's the other way around. ROSE Well, you could've fooled me. On the court, McMurphy throws the ball to Martini. Martini throws the ball to McMurphy. McMurphy throws the ball back to Martini. Martini throws the ball into the stands. THE WHISTLE BLOWS MCMURPHY Whadaya doin', there's no one there! MARTINI I saw 'em! I saw 'em. HARDING (O.S.) (shouting) Mack, get back here! McMurphy turns to see the other team go by and score a basket. Billy passes the ball into MeMurphy. MARTINI Gimme the ball! MCMURPHY (holding the ball) Okay, Martini. That's okay. Now you watch me. McMurphy dribbles the ball down the sideline. Stops. Goes into his routine of ball tricks: faking one way, then the other, over his head, under his legs, finally ending on a pass behind his back which goes straight into Washington's hands. Washington dribbles down court for an easy layup. SCORE: AIDES 10 PATIENTS MCMURPHY (to Spivey) Time out! SPIVEY (blowing his whistle) Time out! MCMURPHY (shouting to Timer) Replacement coming in! Harding out! McMurphy crosses to Bromden, takes his hand, and leads him onto the court and under the Acutes' basket, where he maneuvers him into the proper position. Then McMurphy raises his hands above his head and Bromden follows suit. MCMURPHY (starting back up court) Time in! (sees Harding still on court) Hold it! Time out! (to Harding) I said Harding out! HARDING I refuse! MCMURPHY I said out! HARDING (casting a quick look at his wife) No! MCMURPHY I'm the coach! HARDING I just started! MCMURPHY You can come back later! HARDING I don't trust you! MCMURPHY (looking for another victim) Scanlon out! SCANLON No! MCMURPHY Martini out! MARTINI No! McMurphy looks at Billy. BILLY I-I-I-I-I'll g-g-g-go, M-M-Mack... MCMURPHY Good boy, thank you, Billy. Billy goes off and sits by Big Nurse. Now, the lineup on the bench is Billy, Big Nurse, Candy and Rose. Spivey blows the whistle. Under the Aides' basket, Harding passes the ball into McMurphy, who dribbles to half court, takes his mark, and lobs the ball over the outstretched arms of the Aides right into Bromden's waiting hands. Bromden turns and slams the ball into the basket. The crowd goes bananas. Score: AIDES 10 PATIENTS 2 Bromden walks in majestic dignity the full length of the court and takes up his position under the Aides' basket, while McMurphy and his teammates have been putting tremendous pressure on the Aides, not allowing them to pass the ball in. As soon as McMurphy sees that Bromden is firmly set, hands held up, under the Aides' basket, McMurphy turns and runs down court, followed by the other Acutes, where they take up their defensive position. Washington and the Aides easily bring the ball down court, work themselves into position, and take a shot at the basket, which Bromden swats aside. Each Aide gets a shot at the basket, and each time Bromden swats it aside; sending the last swat into McMurphy's waiting hands. McMurphy dribbles the ball up court, where he runs into heavy pressure from Washington. HARDING (off to the side of McMurphy) McMurphy, pass the ball! McMurphy passes the ball to Harding and cuts toward the basket. MCMURPHY (as he cuts past Harding) Harding, pass the ball! Harding ignores McMurphy, as he runs by, and throws the ball to Bromden, who turns and slams the ball into the basket. The crowd goes bananas. SCORE: AIDES 10 PATIENTS 4 CANDY (at the top of her lungs) Atta boy, Mack! (to Big Nurse) What's he in for? BIG NURSE Who? CANDY Mack! BIG NURSE Miss, it's a complicated case. It would take too long to explain. CANDY Yeah, well, he looks like hell! CHEERS are HEARD O.S. Candy turns back to the game. CAMERA HOLDS on Candy, Big Nurse and Billy, who is staring at Candy. BIG NURSE (to Billy) Billy, it's not polite to stare! Billy sinks back, thinks it over, then presses forward. BILLY (to Candy) Miss! Candy looks at Billy. BILLY Hi! CANDY (giving him a big smile) Hi... Billy sinks back in his seat. On the court, McMurphy dribbles down to half court where he is stopped by Washington and Warren, who put the squeeze on him. McMurphy turns and gives them his ass to contend with, then manages to throw the ball under his legs and Washington's legs. The ball rolls to Martini, who scoops it up and throwing it wildly away, the ball ricochets off the backboard and goes in for two points. The crowd goes bananas. Score: AIDES 10 PATIENTS 6 Bromden starts striding down court when the Aides make a fast break past him, but miss their shot. McMurphy retrieves the ball as Bromden, not more than several feet from his own basket, does an about-face and returns to his basket where he turns to see McMurphy lob the ball full court to Bromden, who catches the ball on one bounce, turns and slams the ball in for another basket. SCORE: AIDES 10 PATIENTS 8 The crowd goes bananas and Bromden turns and starts striding down the court when he sees McMurphy at the far end of the court yelling at him. MCMURPHY (yelling and gesturing) Run, Chief, run! Bromden gets the idea and starts loping down court abreast of Washington, who is making another fast break towards his own basket. Washington and Bromden go up together and Bromden swats the ball to Scanlon. MCMURPHY (yelling and gesturing) Run, Chief, run! Bromden starts running towards his own basket, Washington hot on his heels, when the ball is passed to him and he goes up, makes the point, but takes a bad spill, crashing head over heels to the floor. The crowd gasps. The WHISTLE BLOWS. SPIVEY (shouting) Foul! As McMurphy charges across court and grabs Washington by his shirt... MCMURPHY (breathing in Washington's face) Ya fuckin' coon, you're not on the ward now! WASHINGTON (cool as a cucumber) Take you han's offa me! Spivey comes running, blowing his whistle. SPIVEY Break it up, boys! (to Timer) Point counts. One free throw! McMurphy pushes Washington away and turns to Bromden, who is being helped off the floor by Harding, as... MARTINI AND SCANLON Great shot, Chief! Ya okay? You're doin' great! They lead Bromden to the foul line. MCMURPHY (to Washington as they line up at the foul line) We got your black ass now, Washington, wanna bet another twenty? WASHINGTON No way... Bromden takes the ball at the foul line. Sets himself up and lobs the ball underhand. It goes in. The crowd goes wild. INT. MEN'S DORM - NIGHT The patients are asleep except for Bromden who sits on the edge of his bed watching McMurphy, his face pressed against the window, looking out. TURKLE (approaching) What you boys doin' up at this ungodly time o' the night? MCMURPHY Prayin', brother. Prayin'. TURKLE Well, you boys finish it up an' climb back into your beds. 'Kay? MCMURPHY 'Kay... The men slide into their beds and Turkle goes off, clucking to himself. A beat, then McMurphy rushes back to the window and looks out. MCMURPHY'S POV Outside, in the dark, Candy and Rose are seen wandering around. REVERSE ANGLE - BROMDEN AND McMURPHY MCMURPHY There they are, Chief! McMurphy tries to get the girl's attention and fails. MCMURPHY Where are they goin'? McMurphy takes off, towards the day room, followed by Bromden. INT. DAY ROOM - NIGHT As the two of them cross into the day room heading for the window, Turkle sticks his head out of the nurses' station. TURKLE I thought I told you boys to go to bed! MCMURPHY (flagging the girls) Our prayers have been answered, Turkle! Our prayers have been answered! MCMURPHY'S POV as we SEE the girls coming. REVERSE ANGLE TURKLE Oh yeah... MCMURPHY I tell ya, there's an angel of mercy standing out there, Turkle. TURKLE Hallelujah, brother, now get back in bed! MCMURPHY Come an' see. Turkle comes out of the nurses' station, leaving the side window open. TURKLE (crossing to McMurphy) That angel of mercy, he ain't a she, is he? MCMURPHY You's better believe it, brother! Turkle reaches the window and sees the girls outside. CANDY and ROSE'S POV - THE MEN looking out. BACK TO SCENE as Turkle turns to McMurphy. TURKLE Ah believe ya, brother. Ah believe ya! MCMURPHY (taking Turkle aside; holds up $20 bill) Now, wouldn't you pray for twenty bucks, a bottle booze an' a piece of that angel cake? TURKLE (taking the $20 and reaching for his keys) Ah'm on my knees, brother, ah'm on my knees. Turkle unlocks the security screen and raises the window. McMurphy sticks his head out the window. CANDY AND ROSE (both slightly tipsy) Hiya, Mack. MCMURPHY Hiya, girls... TURKLE Shhh... Candy passes a heavy bag of bottles in. Then McMurphy and Turkle help her in. Her dress is above her thighs, her ass visible as she swings over the windowsill and into McMurphy's arms. CANDY Whew! Made it! MCMURPHY (embracing Candy) Man, you look good 'nough to eat! CANDY Yeah, well you look like hell warmed over... ROSE (O.S.) Hey, pssst! Whadda 'bout me? Turkle turns to help Rose in, but she's not as easy to handle, being a good deal heavier and twice as plastered as Candy. TURKLE Hey, Mac! Gimme a hand, will ya! McMurphy disengages himself from Candy and lends Turkle a hand. Rose is finally hauled into the room. ROSE (giggling; loud) Whew! Hiya, boys! TURKLE Shhh... let's move it away from the window... The group shifts a few feet as Turkle closes the window and locks the screen. McMurphy turns back to Candy. MCMURPHY (arms open) Come here, sugar... Candy moves into McMurphy's arms as Rose, straightening her dress, turns to see Bromden looming. Rose SCREAMS. TURKLE What happened? ROSE (backing into Turkle) What's that? TURKLE (mystified) What? ROSE (pointing at Bromden) That! TURKLE Oh, that. That ain't nothin' to be afraid of, ma'am. Just ol Chief Bromden. That's all... ROSE Is he one of the loonies? MCMURPHY He's a patient, Rose... ROSE Oh, yeah... MCMURPHY Yeah... ROSE (approaching Bromden tentatively) Hi ya, big boy? How's it goin'? Like it in here? MCMURPHY He can't hear you, Rose. He's just a big deaf an' dumb indian... CANDY Pssst! Hey Rose! There they are! ROSE (looking around) What? Where? CANDY points to the patients sleeping in the men's dorm. CANDY In there. ROSE Wow! They're so quiet. TURKLE They're sleeping, Miss. They're sleeping. An' we gotta keep it down so we don't disturb their sleep. ROSE Are they dangerous when they're awake? TURKLE Oh, no, Miss. Not these loonies. These are nice guys. Nice guys. CANDY What's that smell? TURKLE What smell? CANDY Smells weird. Smells like pneumonia. TURKLE Ammonia, Miss... ROSE Smells like piss. Is this real, Candy? Is this really real? I mean we are in an insane asylum, an' I wanna know how we got ourselves into this scene. TURKLE Shhh, please, Miss. Keep it down... Rose turns to McMurphy who has opened a bottle of booze and is taking a long pull. ROSE (to McMurphy) Who is he? MCMURPHY (passing the bottle to Turkle) He's in charge. ROSE Are you a doctor? TURKLE (passing the bottle to Rose) Not exactly, Miss. Not exactly. ROSE (drinking and passing the bottle to Candy) Yeah, well, I'll tell ya somethin'. I'll tell ya somethin'. I had this boyfriend, Chuck. (to McMurphy) Ya know him, Mac. Ya remember, Chuck. MCMURPHY Sure, I know Chuck. I know him. ROSE Well, listen to this. He got mad at me one day. Boy, did he get mad at me. He took the light bulb, ya know. I thought he was going to cram it right up me, ya know. But he ate it. He ate the whole fucking light bulb. (to Turkle) Now, tell me! Is he crazy? Tell me! Is he crazy? TURKLE Well, Miss... I would say... I would say, yes. Yes, he's crazy. ROSE I thought so. TURKLE Is he in an asylum? ROSE He's dead. TURKLE Oh, I see. He was a very sick man. Very sick. ROSE That's what I told his mother. And she said I was crazy. Her son ate the whole fucking light bulb and she said I was crazy. TURKLE I don't know anything about that, Miss. I would have to examine you first... ROSE You ol' fucker! TURKLE Well, I'm running a risk by letting you in, Miss. You know I'm runnin' a risk of gettin' my black ass fired. If you understand what I mean... MCMURPHY Sure, she understands what you mean. She's not dumb. Why do you think Rose came to visit us? Rose is very interested in hospitals and hospital facilities. Aren't you, Rose? ROSE What? TURKLE I'll be very glad to show you around, Miss... MCMURPHY Yeah, that's a good idea, Turkle. Why don't ya take Rose on a little tour of our facilities... ROSE Wait a minute... CANDY It's okay, Rose. You can go with him. ROSE Oh yeah! Well if ya don't mind, I'll decide on my own date! CANDY Shit, Rose! What's there to decide? There's only four of us. ROSE Whaddaya talkin' about? There's at least twenty guys in there. Let's wake 'em up and get this party on the road. TURKLE Now, Miss. What do you want with twenty zombies when you got a twenty gun salute looking you right in the face. ROSE Oh, yeah... TURKLE You better believe it, you sweet little thing. You better believe it... ROSE Don't you sweet talk me you ol' spook, you! TURKLE Oh, I'm all through talkin'. Now, let's just you an' me trip on down that hall. CANDY Go with him, Rose. Go with him. ROSE Well, okay, but I just want to look at the facilities. That's all. TURKLE That's all I'm going to show you. MCMURPHY'S POV - TURKLE AND ROSE as the two of them cross out of the day room toward the hallway, Turkle suddenly turns and hurries back to McMurphy, takes the bottle of booze and hurries off clucking to himself. BACK TO McMURPHY and CANDY. MCMURPHY 'Kay, lets get under way. McMurphy crosses to package of booze, selects another bottle, unscrews the top and takes a long pull, then hands the bottle to Bromden. MCMURPHY Down the ol' hatch, Chief. Bromden takes a long pull on the bottle, gags and passes the bottle to McMurphy who crosses to the nurses' station and peeks around the corner. MCMURPHY as he peeks around the corner. MCMURPHY'S POV - TURKLE AND ROSE far down the hallway, as Turkle shows Rose one room, then another, and then the seclusion room, into which Turkle playfully lures Rose, who playfully resists, but finally enters. A beat passes and they don't come out. BACK TO MCMURPHY Satisfied, he crosses to the nurses' station, reaches in the open side-door window, opens the door and enters. INT. NURSES' STATION - NIGHT as McMurphy enters the nurses' station and looks around. INT. MEN'S DORM - NIGHT The patients are all asleep. A very long beat, then -- MCMURPHY (V.O.) (through loudspeaker; very low, ominous, drawn out) Who knows what evil lurks in the hearts of men... Ominous LAUGHTER, then the lights go flashing on and off. MCMURPHY (V.O.) (through loudspeaker) Medication time! Medication time! Rise and shine! Rise and shine! Time to say goodbye... Everybody up, up, up! Some of the patients immediately pop awake as Candy comes in and starts hustling the patients out of bed. CANDY Up and at 'em, boys. BILLY (waking up) H-H-Hi, Candy... CANDY Hi, Billy. INT. DAY ROOM - NIGHT MUSIC OVER as the patients are queued up at the nurses' station where Candy is handing out cups full of whiskey, McMurphy backing her up, pouring the booze into the cups. Harding takes his cup and moves back into the day room as Ellis automatically downs the booze, gags and goes spinning off across the hallway and is nailed to the wall. QUICK CUT TO: DOWN THE HALL - TURKLE sticks his head out the door to check the scene out. Sees what's happening and comes rushing down the hallway, without his shirt, and zipping up his pants. INT. NURSES' STATION - NIGHT as Turkle shoves his way to the intercom system and switches off the lights and music. TURKLE (furiously pushing them out) You crazy goons... shut up an' get outta here... Out! Out! Out! INT. HALLWAY - NIGHT Silence as the last man is driven out of the nurses' station. Down the hallway, a light goes on in the visitors' room. TURKLE Shit, it's the soo-per-visor come to fire my black ass. A KEY is HEARD hitting the lock at the end of the hallway. Without losing a beat, Turkle reverses his movement and starts pushing everybody back into the nurses' station. TURKLE (pushing) Get back in there! In! In! In! As Turkle pushes the last man into the nurses' station, he sees Rose stick her head out of the seclusion room. TURKLE (motioning and shouting) Stay in there! Stay in there! Rose ducks back into the seclusion room as, simultaneously, Turkle closes the door behind him to the nurses' station as the door to the ward opens and the NIGHT SUPERVISOR, a middle aged woman, enters the ward. INT. NURSES' STATION - NIGHT as Turkle, shushing the crowd, makes his way to the nurses' lounge and opens the door. TURKLE (harsh whisper) Alla ya goons, get in here! The patients pile into the nurses' lounge, Turkle cramming the last one through the door and closing it. He turns and crosses to the side door and steps out. INT. HALLWAY - NIGHT as Turkle steps out of the nurses' station, closing the door behind him. NIGHT SUPERVISOR Oh, there you are, Mister Turkle. TURKLE Evenin', ma'am. NIGHT SUPERVISOR Is everything all right? TURKLE (blocking her way to the day room) Why, sure, ma'am... NIGHT SUPERVISOR The lights were flashing on and off, Mister Turkle. TURKLE Jus' cleanin' up, ma'am. NIGHT SUPERVISOR At this hour? TURKLE Cleanliness is a twenty-four-hour job, ma'am... Harding passes by and enters the latrine. NIGHT SUPERVISOR What are these men doing up wandering around? TURKLE (leaning in) Ah guess the natives are restless, ma'am... NIGHT SUPERVISOR (getting a whiff of his breath) You've been drinking on the job again, haven't you, Mister Turkle! TURKLE Ah, no, ma'am... well, yes, ma'am... (leaning in close) A man get awful lonely at night, if ya know what Ah mean, ma'am... Down the hall, Rose sticks her head out the door, sees what's happening, and ducks back in as the Night Supervisor turns on her heel and starts back down the hallway, Turkle at her heels. NIGHT SUPERVISOR I want those men put back to bed, Mister Turkle! TURKLE Yes, ma'am... NIGHT SUPERVISOR And you haven't heard the last of this! TURKLE Yes, ma'am... She opens the gate, slams it behind her, crosses to the main door, opens it and exits to: TURKLE (calling after her) Night, night. Turkle turns and the smile leaves his face as he hurries down the hallway. O.S. the TOILET FLUSHES as Turkle stops at the seclusion room and sticks his head in. TURKLE Be right back, honey... Turkle closes the door, crosses down to the nurses' station, and enters as Harding comes out of the latrine. INT. NURSES' STATION - NIGHT as Turkle enters, crosses to the nurses' lounge and opens the door to see the patients, silhouetted against the open refrigerator light, moving around, pulling the room apart. It smacks of Dante's Inferno as Turkle snaps on the light and steps into the room. INT. NURSES' LOUNGE - NIGHT as Turkle steps into the room and sees the extent of the plundering. The filing cabinet is open. So is the medicine cabinet. Rolls of medical gauze are strewn around, cough syrup and orange juice are flowing. The patients start piling out of the room, carrying their plunder. Fredrickson and Sefelt are SEEN sitting on the floor, in front of the open refrigerator, looking through their dossiers. FREDRICKSON Christ, they even got my first grade report card here... SEFELT Lemme see... Sefelt leans in, unintentionally tipping a bottle of cough syrup in his hand which goes "glug, glug, glug..." all over the papers. SEFELT Jesus, they're terrible grades, Fred... Turkle stoically takes in the shattered remains of his job, unscrews the top to his bottle of whiskey, and takes the biggest swig of his life as, O.S., Rose is HEARD SCREAMING. INT. HALLWAY - NIGHT as Rose, naked as the day she was born, runs screaming down the hall, Ellis loping after her, reaching out his hand. INT. DAY ROOM - NIGHT as the others, who are laying out food, drinking booze and stringing up hospital gauze, turn to see Rose enter the room. She runs behind McMurphy, pressing her body to his, as he gently takes hold of Ellis' outstretched hands. MCMURPHY (to Rose) Don't scream, honey... He gently guides Ellis to the wall, with Rose still clinging to his back. MCMURPHY Ellis ain't gonna hurt you... Ellis is nice... Nice Ellis... see the nice lady... He pins Ellis to the wall. MCMURPHY There, see, nice lady touch Ellis... Rose reaches out and touches Ellis. The others stand agog, looking at this Holy Trinity. DISSOLVE TO: INT. DAY ROOM - NIGHT A SOFT NOSTALGIC NUMBER is HEARD OVER LOUDSPEAKER as Harding, Billy and Cheswick watch McMurphy dance with Candy, Fredrickson with Sefelt and Rose, who is dressed, dance with Taber. Martini and Scanlon are busy draping hospital gauze around the room. Bromden sits by the window -- waiting. DISSOLVE TO: INT. DAY ROOM - NIGHT Another SOFT NOSTALGIC NUMBER is HEARD OVER LOUDSPEAKER as McMurphy, Candy, Harding, Cheswick, Taber, Sefelt and Fredrickson watch Rose, on a table, doing a solo bump-and grind dance, while Martini and Scanlon race around the room in wheelchairs. Billy sits, watching Candy and McMurphy, who sit across the room. Candy is tired and bored. McMurphy is drunk and starting to fade. CANDY It's time to hit the road, Mack... MCMURPHY (snapping at her) Don't worry 'bout the road! We'll hit the road! It'll be there when we're ready! (to the room) Ain't that right, fellas? He gets up and crosses to his friends. MCMURPHY I jus' want you guys to have a good time... Are ya havin' a good time? You... you... good... good... Lez have some fun... He turns to see Billy, who isn't having fun. MCMURPHY Whatsa matter with ya... Billy turns away and McMurphy crosses to him. MCMURPHY Ain'tcha havin' a good time... (no response) Whadaya want? Ya wanna drink? A cigarette... Billy looks up at McMurphy, his eyes are flooded with tears. MCMURPHY Whatsamatter, kid, what's botherin' you...? BILLY Ah-ah-ah-are y-y-y-you g-g-g-going t- t-t-to muh-muh-muh-marry her? MCMURPHY Marry who? BILLY C-C-C-C-Candy! MCMURPHY Candy? Hell no, Billy, she's just a good friend, that's all... BILLY Wu-wu-wu I-I-I-I th-th-think sh-sh sh-she's th-th-th-the ma-ma-ma-most bu-bu-bu-beautiful wu-wu-wu-woman in th-th-the whole world! A long beat as McMurphy looks at Billy, then Candy, then Billy. MCMURPHY (softly) Why don't ya go tell 'er... Billy doesn't move. MCMURPHY Go on, son, now's your chance... Billy slowly crosses toward Candy, stopping halfway to look back at McMurphy, who gives him an affirmative gesture. He crosses to Candy, who just looks at him. BILLY C-C-Candy, wu-wu-will y-y-you mu-mu marry me! CANDY Ah, Billy... Candy rises, kisses Billy on the cheek, and dances with him. McMurphy beams on the twosome, unscrews his whiskey bottle, takes a long pull on the juice, and looks at Bromden. Bromden sits by the window waiting. DISSOLVE TO: INT. DAY ROOM - NIGHT as the MUSIC ENDS. A long silence, then another NUMBER begins as McMurphy, who has nodded off, starts awake and looks around. MCMURPHY'S POV Bromden sits by the window waiting. Cheswick is asleep on the table. Martini and Scanlon are sitting in their wheelchairs filling their cups from through the enema tube. Harding sits, maintaining his aloofness, smoking a cigarette. Sefelt is sitting on the floor, in a drunken stupor, while Fredrickson dances around him. Candy and Billy stand, locked in each other's arms, swaying to the MUSIC. MCMURPHY struggles to his feet, steadies himself, crosses to the nurses' station. INT. NURSES' LOUNGE - NIGHT as McMurphy enters and goes to Turkle, who is dead asleep. McMurphy lifts Turkle's keys and leaves. INT. DAY ROOM - NIGHT as McMurphy crosses to Billy and Candy, and gently parting them, he puts his arms around them -- as much for support as affection. MCMURPHY Come on, you lovers, it's gettin' late... They move toward the hallway. Bromden and Harding are the only two who watch them go. INT. HALLWAY - NIGHT as McMurphy passes several doors, reaches the door of his choice, fumbles with the keys, finds the right one, and opens the door to the seclusion room. MCMURPHY (standing aside) In ya go... BILLY (holding back) M-M-M-Mack? MCMURPHY It's okay, kid. Everything it going to be okay... I'll come back an' getcha in a while... 'Kay... Candy and Billy, hand in hand, enter the small room, which has a bed in it. McMurphy closes the door, looks at the keys, and pockets them. CAMERA TRACKS with McMurphy, who is a very weary man, back into the day room. INT. DAY ROOM - NIGHT MUSIC OVER LOUDSPEAKER as McMurphy crashes heavily into his chair. He can hardly keep his eyes open as he looks around. Harding sits nearby. Taber is lying on a couch, his head in Rose's lap. Cheswick is asleep on the table. Ellis stands nailed to the wall. Bromden sits by the window -- waiting. CAMERA HOLDS on Bromden. MCMURPHY (V.O.) Hey, Harding, wake me in an hour. HARDING (V.O.) Sure, Mack... CAMERA PUSHES INTO WINDOW. TIME LAPSE SHOT of the DAWN and SUN RISING. WASHINGTON (V.O.) (very far away; getting closer) Bibbit? Where's Bill Bibbit, ya damn goons? INT. DAY ROOM - EARLY MORNING as Washington jostles McMurphy awake. WASHINGTON Come on, get over there! McMurphy allows himself to be led to the heavy security partition, by the men's dorm, where all the patients are lined up. It is morning and the day room is a mess: A few chairs turned over. Paper cups and empty bottles. Puddles of cough syrup, orange juice and apple juice worked into sticky masses. Rose sits by herself on the couch. Bromden is the last one led to the lineup, where Big Nurse waits. BIG NURSE Thank you, Mister Washington! Mister McMurphy, do you know where Billy is? McMurphy shrugs "no." BIG NURSE Mister Harding, have you seen Billy? Harding shrugs "no." BIG NURSE Mister Sefelt... Big Nurse's question is cut off as all the patients and attendants turn their heads toward the hallway and start laughing. Big Nurse turns to see Turkle, without his shirt on, walk into the seclusion room and close the door behind him. Big Nurse turns and starts down the hallway, the laughter trailing after her when, suddenly, the laughter breaks off as Big Nurse stops and in the silence, she opens the door. INT. SECLUSION ROOM - EARLY MORNING as Big Nurse opens the door to see Candy snuggled up to Billy, who lies there, eyes closed, a smile on his face. TURKLE (buttoning up his shirt) Morning, Miss Ratched... He slides out of the room as Billy opens his eyes. A long beat as they look at each other. BILLY M-M-M-M-M-M- Big Nurse shakes her head and exits, closing the door behind her. INT. HALLWAY - MORNING as Big Nurse heads for the day room, walking straight for McMurphy when: BILLY (O.S.) (shouting) M-M-M-Miss Ratched! Big Nurse stops and turns to see Billy, half naked, pulling his pajama pants up as he runs, stumbling toward Big Nurse. BILLY (crying out as he runs) P-p-p-please du-du-don't t-t-t-tell m-m-my muh-muh-muh-mummy! He trips on his pajamas and falls sprawling at Big Nurse's feet, his bare ass exposed to all. BILLY (blubbering as he rises) P-p-p-please du-du-du-don't t-t tell her, p-p-please... BIG NURSE You should have thought about that before you brought that woman in here! BILLY N-n-n-n-no, no, I du-du-du-didn't, I didn't! BIG NURSE I don't want your mother to believe something like this but what am I to think? BILLY Sh-sh-sh-she m-m-made m-m-me do it! BIG NURSE Billy, that girl couldn't have pulled you in there forcibly... BILLY Sh-sh-she did! Everybody did! BIG NURSE Who? Tell me! BILLY M-M-Muh-Muh-McMurphy! MCMURPHY Ahhh, Billy... BILLY (caught in his own anxiety) P-p-p-please duh-duh-duh-duh t-t tell, M-M-M-Miss R-R-Ratched, y-y you don't need to! BIG NURSE Get up, Billy. BILLY (screaming) No! No! No! Billy pitches forward and collapses on the floor, screaming, pounding his fists and feet against the floor. BILLY N-n-n-n-duh-duh-duh-pl-pl-pl-pl-muh muh-muh... BIG NURSE (ignoring McMurphy) Mister Washington. MCMURPHY (helplessly to Billy) Hey, Billy, stop cryin'. You don't have to cry... You ain't got nothin' to be ashamed of. She ain't gonna tell you mother... stop crying... WASHINGTON Yes, Miss Ratched! BIG NURSE (to Washington) Put him in Doctor Spivey's office! WASHINGTON Yes, Miss Ratched... Washington nods to Warren and the two of them scoop Billy off the floor and carry him screaming to Doctor Spivey's office as Big Nurse crosses into the nurses' station and picks up the phone as Candy eases her way into the day room and joins McMurphy. A beat, then Miller starts herding the patients toward the washroom, staying clear of McMurphy and Bromden, who don't move. McMurphy pulls the keys out of his pocket. MCMURPHY (to Candy) Let's go! McMurphy checks the nurses' station, sees Big Nurse is busy on the telephone. MCMURPHY (to Bromden) Let's go, Chief... McMurphy crosses to the window, followed by Bromden, Candy and Rose, where he begins fumbling with the lock. MILLER as he herds the patients out of the day room. He turns to see McMurphy trying to open the screen. Miller crosses to McMurphy. MILLER Hey, what's gone here? McMurphy turns around and punches Miller. INT. NURSES' STATION - MORNING as Big Nurse, still on the phone, sees Miller go sprawling across the floor. She grabs the intercom. BIG NURSE (V.O.) (through loudspeaker) Washington! Warren! To the day room, immediately! INT. DAY ROOM - MORNING McMurphy opens the screen, raises the window, and helps Candy and Rose out as Washington and Warren converge on them. McMurphy and Bromden wheel around. Washington, Warren and Miller appear around the corner, take one look, and head straight for McMurphy. WASHINGTON (stopping just short) 'Kay, let's have the keys an' nobody get hurt! Washington's words are cut off as, O.S., Nurse Pilbow SCREAMS... a bloodcurdling scream. They turn to see Nurse Pilbow enter the nurses' station, her uniform splattered with blood, hysterically talking to Big Nurse (we can't hear her). Big Nurse and Nurse Pilbow rush out of the nurses' station and head down the hallway. McMurphy is glued to the spot. CANDY (calling from outside) Come on, come on, let's go! McMurphy hesitates, then moves across the day room toward the hallway. INT. DOCTOR SPIVEY'S OFFICE - MORNING CAMERA SHOOTING TOWARD the door, crammed full of patients, who stare at the scene with curious detached looks, as Big Nurse and Nurse Pilbow force their way through the patients. The crowd parts and Big Nurse stops in the doorway, horrified at what she sees. CAMERA HOLDS on Big Nurse's reaction. A beat, then McMurphy appears alongside Big Nurse and is stricken by what he sees. MCMURPHY AND BIG NURSE'S POV - REVERSE SHOT - DOCTOR SPIVEY'S OFFICE The office is splattered with blood. Billy is lying face up, hanging over Spivey's desk, dead. His throat and both wrists are cut. A broken picture frame, containing a photograph of Spivey's family, lies nearby. MCMURPHY Billy, oh, Billy boy... McMurphy crosses into the room and kneels alongside Billy's body. He gently lays his hand on Billy's face. BIG NURSE Get away from him! Don't you dare touch him! McMurphy turns and leaps at Big Nurse, grabbing her throat; he drives her into the Acutes and Nurse Pilbow. INT. HALLWAY - MORNING as McMurphy, Big Nurse, Nurse Pilbow and several Acutes go down, arms and legs intertwined, kicking, trying to get away as McMurphy strangles Big Nurse. Nurse Pilbow screaming, as Washington, Warren, Miller rush in, trying to break his hold on Big Nurse's throat, her face turning blue. McMurphy's face, twisted by his passion, when Washington lands a rabbit punch and MeMurphy's face relaxes as he passes out. DISSOLVE TO: INT. DAY ROOM - DAY MUSIC OVER LOUDSPEAKER. The day room is as it was in the beginning. Harding is dealing out a game of blackjack to Martini, Scanlon, Cheswick and Fredrickson. Taber, pencil in band, sits pondering over a blank sheet of paper. Ruckly is turning a grimy photograph over in his hands. Bancini sits wagging his head, mumbling over and over, "Tired... awful tired..." Ellis stands against the wall, arms outstretched. HARDING (V.O.) (over last scene, in McMurphy's style) Okay, suckers, place your bets... INT. HALLWAY - DAY Bromden is mopping the floor near the security gate to the visitors' room, when a key hits the lock. Bromden looks up expectantly. BROMDEN'S POV as Sefelt and Miller enter the visitors' room, cross to the security gate and pass into the hallway. Bromden goes back to his mopping. INT. DAY ROOM - DAY as Sefelt jauntily enters the day room. BIG NURSE (V.O.) (through loudspeaker) Did everything go well, Mister Sefelt? Sefelt turns to the nurses' station where, inside, Big Nurse sits very erect, wearing a back brace that reaches up around her neck. Sefelt shows his teeth and gums to Big Nurse. BIG NURSE (through loudspeaker) That's very nice. Now, doesn't that make you feel better, Mister Sefelt? SEFELT Yes, ma'am... BIG NURSE Good... She turns back to her work. Sefelt crosses to the card game, where he sits and catches Fredrickson's attention; showing him his teeth. Fredrickson smiles at Sefelt and blows him a kiss. HARDING (who has been dealing) Big Ace... a lovely lady... another ace... an' a little trey, hey, hey, whadaya say... hit or sit? SCANLON Hit! SEFELT (to Fredrickson) Ya know what, Fred? FREDRICKSON What? HARDING (dealing a card to Scanlon) Big king, too bad... SEFELT Just wait till you hear... HARDING Hear what? SEFELT McMurphy killed two attendants and escaped... HARDING When? SEFELT Yesterday... HARDING Who told you that? SEFELT Gary Blinker... SCANLON Gary Blinker's fulla shit! MARTINI He's not! SCANLON He is! Harding slams his card down on the table, rises and crosses to the nurses' station where he taps on the side window. Big Nurse gets up, crosses to the window and slides it open. BIG NURSE Yes, Mister Harding? HARDING Is it true McMurphy killed two attendants and escaped yesterday? BIG NURSE No. Mister Harding, that is not true. DISSOLVE TO: INT. HALLWAY - LATE AFTERNOON Bromden is squatting, leaning against the wall near the security gate to the visitors' room, when a KEY HITS THE LOCK. He looks up expectantly. This time it is McMurphy. Or what was McMurphy, for his head is bandaged, and his tongue hangs out of his mouth as he is led across the visitors' room by an ATTENDANT. McMurphy shows Bromden no sign of recognition, which Bromden pays no attention to, thinking McMurphy is putting on the same act he did when he came back from Electro-Shock Therapy. Bromden joyously turns and runs down the hallway to the day room. INT. DAY ROOM - LATE AFTERNOON as Bromden crosses into the day room, gets a seat, and sits facing the hallway, bursting with expectation. A long beat, then the Attendant appears with McMurphy and taps at the side door to the nurses' station. The Acutes break off their card game and look at McMurphy; their faces hang open at his appearance. Big Nurse crosses to the side door, opens it, and steps out into the day room. To the Attendant as she takes McMurphy by the arm: BIG NURSE Thank you... ATTENDANT Yes, ma'am... The Attendant exits. BIG NURSE (to McMurphy) Now, let's find you a place to sit, shall we, Mister McMurphy? Big Nurse gently guides McMurphy to a seat on the Chronics' side of the room. Bromden can hardly contain himself as he waits for McMurphy to go into his act. The Acutes have already absorbed the reality of McMurphy's condition as they exchange looks with each other. FREDRICKSON (whispering) Lobotomy... HARDING Yeah... SCANLON Yeah, that Gary Blinker is fulla shit... The Acutes turn back to their card game as Harding shuffles and deals the cards out. Bromden keeps his eyes glued to Big Nurse and McMurphy. BIG NURSE (sitting McMurphy down) Here now, you sit here... That's it... Big Nurse pats McMurphy's face and crosses back to the nurses' station. McMurphy just sits there, his head lolling to one side. Bromden waits for McMurphy to go into his routine. McMurphy just sits there. Bromden snaps his fingers and slaps his thigh, then waits for McMurphy to follow suit. McMurphy just sits there slobbering. Bromden slaps his thigh again. No response from McMurphy. The MUSIC PLAYS ON. DISSOLVE TO: INT. MEN'S DORM - DAYBREAK as Bromden stands by the window looking out. A long beat, then he turns into the room and looks around. BROMDEN'S POV The patients are all asleep. The new night attendant is fast asleep in the nurses' station. Bromden quietly takes his pillow and goes to McMurphy's bed, where he kneels and puts his head very close to McMurphy's. A long beat as Bromden studies McMurphy's face. BROMDEN (whispering in McMurphy's ear) When I first came here I was so scared of being lost I had to holler so they could track me... I figured anything was better than being lost... On the last word, Bromden places his pillow over McMurphy's face and begins to suffocate him. McMurphy starts thrashing and Bromden lies full length on McMurphy. A long beat, then the thrashing ends. Bromden gets off McMurphy, replaces his pillow, and crosses down the aisle toward the day room. INT. DAY ROOM - DAYBREAK The night attendant continues to sleep as Bromden passes the nurses' station, heading for the tub room. INT. TUB ROOM - DAWN as Bromden crosses to the heavy machine which McMurphy had once tried to lift, sizes it up, then bends over and takes hold and heaves. The GRINDING WEIGHT is HEARD as Bromden exerts all his strength, slowly lifts the machine off the floor, balances it above his shoulders, then crosses out of the tub room. INT. DAY ROOM - DAWN as Bromden comes around the corner and past the sleeping night attendant in the nurses' station. Bromden lines himself up with the window across the room, then starts toward it, picking up speed as he goes. Then, at the last moment, he stops and, with an enormous effort, he hurls the machine through the security screen and the window. A LOUD CRASH. In the nurses' station, the night attendant starts awake and looks around. Too late as Bromden vaults through the window. CAMERA HOLDS on window as Bromden runs across the grounds and disappears into the pine trees. INT. DAY ROOM - DAWN as the night attendant comes out of the nurses' station and looks confusedly around. Then he spots the shattered window. EXT. COUNTRYSIDE - EXTREME LONG SHOT - SUNRISE Rolling hills, forests and distant mountains, bathed in sunlight, as Bromden runs across a far-off meadow. CREDITS OVER. THE END