LIMITLESS
Written by
Leslie Dixon
Based on the novel by
Alan Glynn
December 21, 2009
INT. A BLACK SCREEN
EDDIE (V.0.)
They found me.
INT. CLOSE 0N - A HIGH-TECH RESIDENTIAL STEEL DOOR
being POUNDED in. WHAM! WHAM! Whoever's trying to get in is
serious. The door shudders but doesn't give. It's state-of-
the-art residential protection.
EDDIE (V.0.)
I might have five minutes.
We hear the WHRRRRR of POWER TOOLS going to work on his door.
These people are determined. Professional. And prepared.
EDDIE (V.0.) ( (CONT'D)
I'll never know how they got past
security in a half-billion dollar
building.
EXT. THE CELESTIAL - LOOKING INTO THE LOBBY - NIGHT
The sleek lobby is deserted. We SEE, through the GLASS, lying
on the floor, the barest glimpse of the FEET of what are
presumably TWO DEAD SECURITY GUARDS -- although their bodies
are largely hidden behind their massive curly walnut desk.
All the security monitors are BLACK -- the feeds clearly cut.
EDDIE (V.O.)
They've become sophisticated.
Before they couldn't have done
this. But now...?
The CAMERA RISES, breathlessly, in a blur, up all 80 floors
of this stunning new building, coming to rest on...
EDDIE MORGAN,
30's, lean and stylish, standing on the exterior ledge of his
multimillion-dollar terrace. New York City looms around him,
beneath him. His hands are outstretched. Balancing. He is
calm, but fatalistic. He's clearly going to jump.
EDDIE (V.O.) (CONT'D)
I will never let them touch me.
His attention is CAUGHT by the SOUNDS of a commotion in the
next apartment. He looks over, at-
2.
THE ADJOINING TERRACE
Through the gauzy curtains of the window, TWO MEN force A
MIDDLE-AGED MAN towards the windows... there is arguing.
EDDIE (V.0.)
My neighbor must've heard the
noise. Opened his door to complain.
Two MUFFLED SHOTS - the neighbor drops. The door is pounded
again. It doesn't give.
EDDIE (V.0.) (CONT'D)
He bought me half a minute. I wish
he hadn't. Last thoughts are self-
pitying and mine are no exception:
the waste. The waste of it all. I
mean, how many of us ever know what
it is to become... the perfect
version of ourselves. I'd come
that close. To having an impact on
the world.
The pounding intensifies.
EDDIE (V.O.) (CONT'D)
And now, the only thing I'd have an
impact on...
He looks over the railing...
EDDIE (V.O.) (CONT'D)
... was the sidewalk.
His smile is bitter, as we CUT TO:
EXT. NEW YORK CITY STREET - DAY
EDDIE (V.0.)
Not so long ago, this was me.
Eddie is walking down the street, messily eating a street
falafel. His hair is longer, his clothes schlumpier, his face
rounder --he's out of shape. A belly bulges against his belt.
He wears jeans and that worn-out corduroy "writer's" sport
coat --the one that your girlfriend fights to give to the
Salvation Army.
(CONTINUED)
3.
CONTINUED:
EDDIE (V.0.) (CONT'D)
I was a writer. Two years after my
copywriting job at Dexter & Kerr
came to a non-mutual end, I had, in
an extraordinary burst of desperate
energy, bullshitted my way into my
first book contract. This was it:
INT. EDDIE'S RATTY RENT-CONTROLLED APARTMENT ON AVENUE A- DAY
Eddie, slumped in his desk chair, is playing COMPUTER
SCRABBLE.
EDDIE (V.0.)
Now, at last, I was ready to write.
QUICK CUTS: --Eddie sprawled on the couch, eating takeout and
watching TV, the sink in the foreground full of dishes. --
Eddie shooting baskets into a toy hoop.
EDDIE (V.0.) (CONT'D)
Gearing up, that's all.
--Eddie sleeping in his bed, sacked out, the clock beside him
clicking to 11:59 a.m.
EDDIE (V.0.) (CONT'D)
Getting psyched.
--Eddie sitting on the john, playing a game on his childhood
Game Boy.
EDDIE (V.O.) (CONT'D)
A few days did pass this way...
maybe a few months...
--Eddie at his desk. He glances at his LAND LINE. The
message light is unblinkingly green. No one's called.
EDDIE (V.O.) (CONT'D)
Friends fled.
His POV PANS to the FOOT HIGH STACK OF UNPAID bills next to
the answering machine.
EDDIE (CONT'D)
And banks became attentive. But
just in case you think nothing ever
happened to me....
4.
INT. A MIDTOWN COFFEE SHOP - DAY
A FEMALE HAND slides a KEY across the counter to EDDIE. Eddie
stares in disbelief at his (now ex) girlfriend, LINDY, an
attractive, real-looking girl, late 20's. She's dressed in a
professional suit. She looks very sad.
LINDY
I don't think I can keep this.
Eddie is broadsided. Hurt.
EDDIE
Just like that.
She shoots him a look of almost intolerable sympathy.
EDDIE (CONT'D)
I was kind of under the impression
you cared a little more than just--
LINDY
If I didn't care, maybe I'd be able
to stand to watch you do this.
EDDIE
Look, I'm going to give 90 pages to
Mark on Friday. If you could just
wait, see what he says-
LINDY
Stop. You think I don't know what
you do all day? I've loved you. I
know the good stuff, and I know the
shit.
EDDIE
And it's all shit to you now?
LINDY
You're the one living it.
(SYMPATHETICALLY)
Don't think I don't know it's worse
for you.
EDDIE
Then you know I could use a friend.
He tries to push the key back. He cares about her, but he's
also "working" her sympathy, which she instantly smells.
LINDY
Don't you dare try that shit on me!
(CONTINUED)
5.
CONTINUED:
She pierces Eddie with a look. Doesn't take the key.
EDDIE
Well -- what'll work, then?
They both almost laugh. They know each other so well. But
she looks away, steeling herself.
LINDY
I see where it's going. You'll
lose your apartment. And then
what? You'll move in with me--
EDDIE
Not with that enthusiastic invite--
LINDY
--And then it'll go on this way,
and I'll rag on you, and finally
boot you out -- and then what? I
mean, have you run the film?
EDDIE (V.0.)
She knew what was beckoning: the
lower bunk in my childhood bedroom
in Newark. We'd even had sex on it
once. And it was a thing to be
pitied and avoided.
Eddie sighs. Drops the glib tone. Looks at her, finally
mustering the honesty she deserves.
EDDIE (CONT'D)
Lindy. I really thought I had it
in me to do something. --I wasn't
getting around it, but it was
fucking there. And now, I, ah...
don't think it is. There.
--Anything. At all.
Lindy looks at him, clear-eyed, seeing him as he is, and
loving him anyway.
LINDY
You know what...? I'd have had you
move in anyway... if...
EDDIE
If, what?
She looks away. Its hard for her to admit this:
(CONTINUED)
6.
CONTINUED: (2)
LINDY
If it was me you wanted. And not
Melissa.
EDDIE
I never think about Melissa--!
FLASH!
INT. BEDROOM - NIGHT
We are in Eddie's mind, in his POV, and we are seeing a
LOVELY, WILLOWY BRUNETTE, wearing an undershirt, bending
seductively over him...
INT. MIDTOWN COFFEE SHOP - DAY
From Eddie's eyes we can tell the memory is still fresh. She
shakes her head, looks away. It's clearly over. She gets up.
He follows.
LINDY
I have to get back.
EDDIE
--Hey, well -- wait -- you didn't
tell me what happened yesterday.
We can see on Lindy's face that she's still vulnerably
pleased that Eddie remembered to ask.
LINDY
I got it.
EDDIE
You got it--?!
LINDY
Yeah. I'll have my own assistant.
You believe that?
EDDIE
(GENUINE)
You deserve it, Lindy.
LINDY
Yeah, thanks. I do.
She smiles weakly, breaks eye contact. No good to keep
looking. It's over. Eddie makes an attempt to reach for the
check, which Lindy grabs.
(CONTINUED)
7.
CONTINUED:
LINDY (CONT'D)
Oh, please.
He knows she knows he can't pay.
EXT. MIDTOWN STREET - DAY
Eddie is walking home, eying the homeless on the street,
feeling his dismal future breathing down his neck.
EDDIE (V.0.)
She was right. I was almost 35.
No one talks about "potential" at
35. I had missed the on-ramp.
Soon I'd be sleeping in the lower
bunk of my childhood bedroom... my
father happy to welcome me into the
challenging field of dental supply
inventory...
He's interrupted by A VOICE - calm, amused:
VOICE
Eddie. Morgan.
VERNON GANT looks him over with condescending bemusment. He's
30, wears an expensive suit, looks like he comes from money.
EDDIE (V.0.)
Of all the useless relationships
better forgotten and put away in
mothballs, is there any more
useless than... the ex-brother-in-
law?
VERNON
Shit! It's gotta be-- 9 years--?
EDDIE
But who's counting.
VERNON
(taking him in)
Hey, you!!!
He genially whacks the sides of Eddie's arms. Eddie
halfheartedly whacks back. Vernon sizes Eddie up.
VERNON (CONT'D)
Jesus, Eddie, pack it on, why don't
you?
(CONTINUED)
8.
CONTINUED:
Eddie didn't need that. He's very self-conscious about his
weight.
EDDIE
Sedentary job, you know...
VERN
So you're still trying to write?
EDDIE
As a matter of fact, I've got a
book contract.
Vern looks half suspicious, half impressed.
EDDIE (CONT'D)
How about you?
(POINTEDLY)
Still dealing, Vernon?
VERNON
(SMUGLY)
Do I look like I'm still dealing?
Eddie sizes him up: the suit, shoes, watch, haircut.
EDDIE
No.
VERNON
Come on, let's get a drink. I wanna
hear about this book.
EDDIE
Nah, I should go--
VERN
You can't tell me you're a health
nut, now. Not with that tire-
EDDIE
(ANNOYED)
Enticing invitation. Thanks.
Vern plucks the pack of cigarettes from Eddie's upper jacket
pocket.
VERN
C'mon, c'mon, one beer. Or I won't
give `em back.
He holds the cigarettes just out of Eddie's reach.
(CONTINUED)
9.
CONTINUED: (2)
EDDIE
It's one o'clock in the afternoon,
Vern.
VERN
When's that ever stopped you?
EDDIE
(SIGHS)
Fuck.
INT. BAR - DAY
A BARTENDER brings beers to Eddie and Vernon who sit at the
bar. Eddie clearly wishes he were elsewhere.
EDDIE
So... how's Melissa?
VERNON
Ah-hah. That's why you agreed to
the beer.
EDDIE
I'm making conversation, Vern.
VERNON
Well, I don't know how Melissa is.
INT. A BEDROOM - NIGHT (AN ALMOST SUBLIMINAL FLASH)
Melissa, naked, silhouetted in the bathroom door. BACK TO:
INT. BAR - DAY
EDDIE
How don't you know? You're her
brother.
VERNON
I don't see her. She lives upstate
now, she's got some kinda internet
home sales kinda job... a couple of
kids...
This is unfathomable to Eddie. He tries to keep his voice
casual.
EDDIE
A couple of kids...
FLASH!
10.
INT. SAME APARTMENT - LIVING ROOM
Melissa, her lovely face over a mirror, doing lines. BACK TO:
INT. BAR - DAY
EDDIE
Who's the husband?
VERNON
What are you, jealous?
EDDIE
It's just a question, Vern.
Vernon can sense his emotion.
VERNON
Walked out on her, if you really
want to know. But what do you care?
You guys weren't even married six
months, were you--? I mean, it was
just a coke thing, right?
EDDIE
Is that what she said--?! "A coke
thing."
It unexpectedly hurts Eddie. Maybe it's just a bummer day. Or
there's a deeper wound than he knew.
VERNON
But I wanna know about this book.
How's it going?
EDDIE
(considering the question)
How's it going... Well... I'm
behind. I'm behind on my book, and
it's pretty well polluting my days
and nights if you really want to
know.
VERNON
How much have you written of it?
A beat.
EDDIE
Not one fucking word, Vern.
(CONTINUED)
11.
CONTINUED:
VERNON
Wow. Creative problem, huh?
Vern appraises him.
VERNON (CONT'D)
I think I have something that can
help you.
He reaches into his pocket. Eddie thinks he knows what's
coming.
EDDIE
Oh, no-- no, no, no-
VERNON
You don't even know what it is.
EDDIE
You're still dealing.
VERNON
No -- yeah --will you listen?! This
isn't recreational. I've been doing
some consulting for a
PHARMACEUTICAL COMPANY--
EDDIE
You mean a lab in some little
Yalie's basement? Give me a--
VERNON
No, this is an exclusive product
coming on-stream next year, they've
had clinical trials, and it's FDA
approved.
A long beat. Eddie bites.
EDDIE
Okay, what is it?
Vern reaches into his jacket, produces a tiny plastic sachet
with his right hand, tapping something out into the palm of
his left. He holds this up for Eddie to see... a TINY WHITE
UNMARKED TABLET.
EDDIE (CONT'D)
What's in it?
Vern puts the little white tablet on the bar.
(CONTINUED)
12.
CONTINUED: (2)
VERN
Just take it. Get you over the
hump.
EDDIE
I'm too old for this, Vernon.
VERNON
Look, they've identified these
receptors in the brain that
activate specific circuits, and--
you know how they say you can only
access like 20 percent of your
brain? Well, what this does--
EDDIE
Vernon. Look at me. Do I look good?
I smoke too much: my chest is sore.
A fucking corpse has more energy
than I do, I've got weird aches,
possible lumps, rashes, maybe
they're a condition, or a network
of conditions. One of these days
they're all going to hold hands,
light up, and I'll keel over dead.
My life's in the crapper, and I
DON'T think it's going to take a
sudden upswing into the
stratosphere if I do some brand
new, shiny designer DRUG!
Vern's phone rings. He holds up his index finger --shh! -and
takes the call.
VERN
(INTO PHONE)
Gant.
(beat, getting agitated)
When. --I know, but when?
(looking at his watch)
Tell him we can't do that. He knows
that's out of the question. We
absolutely can't do that.
Vern is edgy. Very tense. He continues:
VERN (CONT'D)
No, I'm not going to tell him! You
tell him -- no, now!
He turns off his phone, gets up.
(CONTINUED)
13.
CONTINUED: (3)
VERN (CONT'D)
Fucking people. I'm afraid I'm
going to have to leave you here,
Eddie. But let's hang out again,
have another beer.
He takes out his business card, and places it carefully next
to the little white tablet on the bench.
VERN (CONT'D)
By the way, that's on the house.
EDDIE
I don't want it, Vern.
Vern smiles at him.
VERN
Don't be ungrateful, now. You know
how much these things cost?
Eddie shakes his head.
VERN (CONT'D)
Eight hundred bucks a pop.
He pats Eddie on the shoulder and goes. Eddie is still
looking at the pill.
Which seems to be looking back at him.
EXT. THE STREET - DUSK
Eddie makes his way home, a little tipsy and filled with self-
loathing.
EDDIE (V.O.)
All the way home she was back on my
mind ... Melissa.
FLASH!
A memory -- Melissa's face as she's talking, laughing.
EDDIE (V.O.)
She'd been so smart. Smarter than
anyone around her. And oh, how she
loved to provoke people...
14.
INT. A DOWNTOWN PARTY - PARTY - NIGHT
Melissa, sparkling, beautiful, surrounded by people, in
intense conversation with a bunch of downtown types.
MELISSA
--Oh, please, you think
professional women mentor one
another? You think there's some
mutually supportive empathetic
touch-feely network of kindly pie-
bakers? --Those bitches hate each
other! Quick, who was the worst
boss you ever had? A woman, right?!
We can't delegate, we can't command
-- I mean, there's a reason we're
not generals--!
The men gasp, shocked and titillated. The women are furious.
Melissa smiles to herself --she's trying not to crack up.
EDDIE (V.0.)
I thought, by now, she'd be curing
cancer, directing movies, running
for the Senate...
We HOLD ON MELISSA'S LOVELY, CONFIDENT FACE as her voice
fades down and Eddie's fades in.
EDDIE (V.0.) (CONT'D)
What had happened? Her life made no
sense. I mean, I could see a
direct, plausible link between this
Eddie, broke and buzzed at three
o'clock in the afternoon, and an
earlier Eddie...
INT. A DISTINGUISHED GENTLEMAN BEHIND A DESK - DAY
--getting SPLATTERED by some ochre liquid from an offscreen
source.
EDDIE (V.0.)
...vomiting on his boss' desk
during a presentation...
INT. A BEDROOM - NIGHT
A YOUNGER, THINNER EDDIE rifles through a bureau, an old lady
in bed, sleeping, behind him --an oxygen mask on her. She's
clearly terminal.
(CONTINUED)
15.
CONTINUED:
EDDIE (V.0.)
... or stealing his dying Aunt's
Percocet.
EXT. THE STREET - DUSK
Eddie walks, pensive.
EDDIE (V.0.)
But there was no link between my
Melissa and this upstate Melissa
dumped, cold-calling people from
her living room.
EXT. EDDIE'S BUILDING - DUSK
An edgy neighborhood on the furthest edge of lower Manhattan.
This block may never be gentrified.
EDDIE (V.O.)
40 long blocks later I was "home."
He digs in his pocket for the keys and comes up with...
THE LITTLE WHITE PILL
INT. EDDIE'S BUILDING - STAIRWELL - DUSK
It's a former tenement, fourth-floor walk-up. Eddie trudges
up the old stairs, the tiny tiles worn away in spots, the
Victorian moldings disfigured from a hundred and twenty years
of paint.
Eddie is suddenly seized by a racking cough -- a horrible
smoker's cough that makes him double over. He sounds like
he's 80 years old. He finally gets it under control, gets a
glimpse of himself in the storefront window. He looks bad,
and he knows he looks bad.
He reaches into his pocket. THE PILL sits teasingly in the
palm of his hand, looking up at him.
EDDIE (V.0.)
Well. There was less than nothing
to lose.
Quickly, impulsively, he swallows it.
16.
INT. THE LANDING - DUSK
As Eddie passes, a neighbor's door swings open. Eddie tries
walking faster.
EDDIE (V.0.)
I didn't want to see anybody.
VALERIE, 26 and attractive, emerges, dressed to go out.
EDDIE (V.0.) (CONT'D)
Especially not my landlord's nasty
young wife.
She is immediately soured at the sight of Eddie. Eddie knows
what she's thinking.
EDDIE (CONT'D)
Tuesday.
VALERIE
Look, enough, okay--?
EDDIE
Just tell him-
VALERIE
Steve handles the rents. So feed
your fucking bullshit to him.
EDDIE (V.0.)
I suddenly had extra reason to get
away from her. I had thoughtlessly
ingested a substance.
Valerie's tirade FADES up or down, depending on when we're
hearing Eddie.
VALERIE
--Like the rent's not low enough--!
EDDIE (V.0.)
I had gotten remarkably little
information from Vernon about what
this drug would do.
VALERIE
You could be a bike messenger and
come up with that!
Eddie continues up the stairs. But she follows, getting in
front of him.
(CONTINUED)
17.
CONTINUED:
EDDIE (V.O.)
...What if it was a hallucinogen...
oh my God... listening to her rag,
if I were tripping...? I'd jump out
a fucking window.
VALERIE'S voice fades up.
VALERIE
--Look, I'm just telling you, he's
been talking about calling these
people he knows from the club to
muscle you out -- I've told him not
to do that, but he's really pissed.
We PUSH IN on Eddie's face, into his eyes... where we see his
pupils contract just slightly. A flicker.
EDDIE (V.0.)
And then... I felt it.
EDDIE'S POV - THE APARTMENT UPPER HALL...
The room is changing... springing into sharper focus.
EDDIE (V.0.)
Levels more, layers more, 3-D
more... galactically more. But the
same. Just the depth and beauty...
of clarity.
There seems to be more definition, more dimension, a little
more light -- he can see more clearly. The SOUND drops out
for a moment; he can see VALERIE'S FACE, mouth contorted,
continuing to heap the abuse, but there's something in her
eyes that's not mean... something anxious.He looks at her
with a sudden keen intelligence. And sympathy.
EDDIE (CONT'D)
What's wrong?
She's taken aback.
VALERIE
W-What?
His eyes go to THE BOOK BAG in her arms.
EDDIE
"I was blind but now I see."
(CONTINUED)
18.
CONTINUED:
On a gut instinct, Eddie takes a shot, pushing his words
forward with a new, sharp, penetrating intimacy,
articulateness.
EDDIE (CONT'D)
You don't like me, and I don't
blame you -- you see a schlumpy
energy- sucking defeated sack of
shit sponging off your husband.
You're hoping I'll blow my brains
out. But my existence shouldn't
make you this upset. What is it?
He's hit a nerve.
VALERIE
Look, that's none of your-
EDDIE
Something wrong at school?
VALERIE
How do you know I'm in school!
His eyes flick down at her bag.
EDDIE
People who aren't don't usually
carry dry, academic constipated out
of print books about Dorothea
Lange.
VALERIE
Are you some kind of creep? Have
you been following me?!
EDDIE
I just saw the book--
VALERIE
You can only see a corner of it.
How did you know?
He looks down. She's right --only a corner of the book is
visible. Eddie realizes:
EDDIE
I've seen it before.
EDDIE (V.0.) (CONT'D)
It was true. 12 years ago. In
college...
19.
INT. DORM ROOM - NIGHT
A slightly younger Eddie is flipping through the Lange book.
EDDIE (V.O.)
...sitting on the couch of a T.A. I
was trying to make, waiting for her
to come back out of the bathroom...
hoping she'd have a condom...
BACK TO:
INT. EDDIE'S BUILDING - LANDING - DAY
EDDIE (V.0.)
Somehow, my unconscious had served
that up... a memory I'd never even
recorded. Or was it there the whole
time... and all I needed... was the
access?
ON EDDIE'S FACE - CLOSE
As it sinks in:
EDDIE (V.0.)
Vern was right. This was no
recreational drug.
Eddie's eyes flick to the laptop in her bag, his manner
suddenly intimate, confident.
EDDIE (CONT'D)
If you're writing a paper, that's
not the book I'd use.
VALERIE
Well, who asked y-
EDDIE
Cal Berkeley has her oral history.
I'd start there. Her son is still
alive. You could Google him. Sons
of famous people always want to
dish dirt about their parents.
You'd get something no one else
has, and you'd've gone the extra
mile, a nice little apple for the
professor.
During this speech, MUSIC COMES UP and the sound goes down...
SEVERAL QUICK CUTS...
(CONTINUED)
20.
CONTINUED:
Eddie and Valerie's mouths are moving... she's asking
questions... he's supplying answers, lots of them...
EDDIE (V.0.) (CONT'D)
Information from the odd museum
show, a half-read article, some PBS
documentary, was all bubbling up to
my frontal lobes, mixing itself
together into a sparkling cocktail
of useful information.
Valerie's whole posture is relaxing, the look in her eyes
becoming... friendly.
EDDIE (V.0.) (CONT'D)
She didn't have a chance.
INT. THE DOWNSTAIRS APARTMENT FROM EDDIE'S - NIGHT
A mirror image of Eddie's, but considerably nicer. We HEAR
the SOUNDS of two people -- Valerie and Eddie -- HAVING WILD,
mutually satisfying SEX from the other room.
EDDIE (V.0.)
We'd really worked on her paper,
too. In 45 minutes it was a
polished gem. She was pleased.
We see the laptop set up, books scattered -- then, obviously
abandoned for a more pleasurable pursuit.
EDDIE (V.0.) (CONT'D)
One nice little side effect...? I
stayed hard for hours.
We HEAR female groans of pleasure. Laughter.
INT. EDDIE'S APARTMENT - NIGHT
A dishevelled Eddie opens the door to his apartment. He
enters, looks around.
EDDIE (V.O.)
Happy and sore, I returned home.
EDDIE'S POV - HIS LIVING ROOM
It's the first wide shot we've seen of it, and it hammers
home: what a mess. Books scattered across the floor, dirty
dishes, broken Venetian blind sashes. The nest of a slob.
(CONTINUED)
21.
CONTINUED:
EDDIE (V.0.)
... But it couldn't be my home,
could it? Who would live like this?
MONTAGE: Speeded-up shots of Eddie sifting through his books
and tapes. Cleaning up the kitchen. The bathroom. Picks up
books. He starts moving the sofa.
QUICK CUTS: the living room, rapidly whipped into shape. If
not stylish, habitable. Final shot: he's sitting on the
(repositioned) couch. Thinking.
EDDIE (V.0.) (CONT'D)
What was this drug? I couldn't stay
messy on it, I hadn't had a
cigarette in six hours...
He stares at the pack in his hands. It looks alien.
EDDIE (V.0.) (CONT'D)
...hadn't eaten... So. Abstemious
and tidy. What was this -- a drug
for people who want to get anal?
He gets up. Paces.
EDDIE (V.0.) (CONT'D)
I wasn't high, wasn't wired --just
clear. What I needed to do. And how
to do it.
His eye falls on his COMPUTER.
The MONTAGE CONTINUES: Eddie flipping through research books,
typing onto his keyboard, the printer printing, doing
Internet searches... pages and pages spit out of the printer.
INT. EDDIE'S BEDROOM - MORNING
Eddie, in his underwear, is sleeping soundly. He stirs, rolls
over, cracks open an eye.
He gets up, schlumps to the mirror, looks at his unshaven
face. The penetrating gleam is no longer in his eyes.
EDDIE (V.0.)
The next morning, I sent a little
probe down into my brain. No surge
of brilliance came up to greet me.
I felt thick and stupid -- a
shuffling zombie without my coffee
and cigarette. In short...
(CONTINUED)
22.
CONTINUED:
CLOSE UP -- EDDIE'S UNDERWEAR is tossed at the hamper -
missing it by about a foot. The underwear remain on the
floor.
EDDIE (V.0.) (CONT'D)
I was back.
INT. EDDIE'S LIVING ROOM - MORNING
Eddie lies on the couch. (Already the room shows signs of
being messed up again.) His eye suddenly falls on his desk.
EDDIE (V.0.)
But something remained.
INT. EDITOR'S OFFICE - DAY
Eddie drops A STACK OF FRESH PAGES on the desk of MARK
SUTTON. Mark looks skeptically at Eddie, then the pages.
MARK
You're kidding.
EDDIE
No.
MARK
(SARCASTIC)
Words have appeared on paper.
EDDIE
Yes.
MARK SUTTON
Written by you.
Eddie knows he's on thin ice.
EDDIE
Three pages. That's all you have to
read. If you read them in the next
hour, and you don't want to keep
reading I'll give back the advance.
EXT. FLATIRON DISTRICT - DAY
Eddie standing on the street, the crowd flowing around him.
He turns this way and that, clearly anxious, impatient. Where
to go? What to do to kill the time?
23.
EXT. STREET - DAY - THREE SHOTS:
1. Eddie orders a PRETZEL from a food cart. He is having to
dig into his pockets to come up with the change. The VENDOR
becomes so impatient he won't give him the pretzel, and
serves another customer first. Eddie looks at HIS CELL
PHONE. Makes sure it's on. No call.
2. Eddie sits on a stoop, slowly nibbling on his pretzel, his
eye glued to his phone. No call.
3. Eddie tosses the finished pretzel's wrapper and SHAKES HIS
PHONE in frustration. A RING! Eddie jumps up, fumbles with
his phone just as a passing male WALL STREET SHARK pulls out
his phone and answers. The ring wasn't for Eddie.
INT. EDDIE'S APARTMENT - NIGHT
Eddie comes in, then notices something's different. His
ANSWERING MACHINE has a blinking red light. Eddie clicks the
button, breathless.
MARK SUTTON'S VOICE
Eddie... give me a call when you
get in... (BEEP)
The second message is from Mark too.
MARK SUTTON'S VOICE (CONT'D)
Eddie, I'm 40 pages further in...
call me... it's a little grandiose,
but I'm still reading...
A third message - BEEP!
MARK SUTTON'S VOICE (CONT'D)
Okay, how did you do this? I'd, uh,
I'd really like to -- shit, just
call me the minute you get in,
call. Okay? Okay. (BEEP!)
Eddie jumps up, gleeful-- he knew it! Then his smile fades.
Reality hits.
EDDIE (V.O.)
But how would I finish? It was
"enhanced" Eddie who displayed all
that brilliance. Not me.
EXT. VERN'S APARTMENT BUILDING - DAY
Eddie, holding Vern's card, buzzes the buzzer. There's no
answer. Eddie buzzes again and again. Finally:
(CONTINUED)
24.
CONTINUED:
VERN'S VOICE
(GROGGY)
Yeah?
EDDIE
Vern! It's Eddie.
VERN'S VOICE
Bad time, okay--?
EDDIE
Vern -- last night 90 pages just
wrote themselves! I totally chucked
the novel I pitched them --I
suddenly SAW, Vern, how this whole
societal economic class struggle --
and its solution -- didn't have to
be futuristic or fictional -- it
was actually ACHIEVABLE here, in
our lifetime -- and I could just
lay it out, like, like a manifesto,
or something, like Mein Kampf
except not by a crazy racist fuck!
(no response, realizing)
Okay, I won't talk any more about
this if you let me in.
The buzzer buzzes.
INT. VERN'S APARTMENT DOOR - DAY
The door opens. And Eddie is taken aback. Vern has been
beaten up. Really worked over. His lip is split, his face
puffy and bruised. His right hand is bandaged.
VERN
Well, that was fast.
EDDIE
WHAT HAP-
VERN
Don't ask.
Leaving the door open, Vern turns around and motions at Eddie
with his left hand to come in. The place is all mismatched
antique furniture -- the possessions of someone who collected
once, with enthusiasm, but who's letting it all go to hell.
Vern sits, keeping his injured arm elevated.
VERN (CONT'D)
So, Eddie. I guess you're
interested after all.
(CONTINUED)
25.
CONTINUED:
EDDIE
Yeah. That stuff's amazing.
VERNON
It works better if you're already
smart.
Eddie can't get over how bad Vernon looks.
EDDIE
VERN-
VERN
You don't want to know.
And Eddie wants the drug more than he wants to know what
happened.
EDDIE
What's... um... what's it called?
VERN
It doesn't have a street name yet,
because it doesn't have a street
profile. And that's the way we want
it to stay. The boys in the kitchen
are calling it MDT-48.
EDDIE
"The boys in the kitchen...?" Vern,
that doesn't sound FDA approved.
VERN
"FDA-approved," that's a laugh. Did
you really believe that shit?
Eddie stares at Vern as he pours himself a coffee.
EDDIE (V.0.)
Okay, so what did we have here?
Some unknown, untested, possibly
dangerous drug scammed out of some
unidentified lab somewhere, given
to me by a highly unreliable guy I
hadn't seen in years.
VERN
So you want some more of it?
EDDIE
Yes. Definitely.
Vern chuckles. He knew it.
(CONTINUED)
26.
CONTINUED: (2)
VERN
We'll talk about it. But first
maybe you can do me a little favor.
EDDIE
Uh... sure.
Eddie wants to get on with it and get out of there, but Vern
clearly has him by the balls.
VERN
You can see, I'm in no shape to go
out right now. Will you hop down to
the dry cleaners and get my suit?
And maybe pick me up a little
breakfast...?
Eddie sighs. Vern tosses him a set of KEYS.
INT. A DRY CLEANER'S AUTOMATED CLOTHING RACK - DAY
As the plastic-wrapped clothes spin towards us...
EDDIE (V.0.)
It was amazing how quickly it all
slotted back into place...
INT. A DINER GRIDDLE - DAY
As two eggs are flipped, over easy.
EDDIE (V.0.)
..the dealer-client dynamic......
INT. VERNON'S BUILDING - HALLWAY - DAY
And here comes Eddie, carrying Vernon's suit, and greasy bag
of breakfast...
EDDIE (V.0.)
...the easy sacrificing of dignity
for the guaranteed return of a dime
bag, or a gram, or in this case a
little pill that was going to cost
me a month's rent.
He arrives at Vernon's door. He takes out the keys Vern gave
him, but he doesn't need them. The DOOR is AJAR.
27.
INT. VERN'S APARTMENT - DAY - EDDIE'S POV
As Eddie pushes the door open, he can see Vernon sitting,
quite normally, on the couch. As he enters the room, though,
he sees that the place has been RANSACKED. Destroyed.
Eddie wheels back to ask Vern what the fuck. And then sees
it.
VERN'S FACE -CLOSE
In the center of his forehead is a neat little BULLET HOLE.
EDDIE
is no tough guy, and sweat springs to his brow. He starts
shaking... then, seized with horror that they might still be
in here, he edges to the bedroom. We hear THE POUNDING OF HIS
HEART as he peeks in...
INT. EDDIE'S POV - VERN'S BEDROOM
It's been ransacked, too. Torn to shreds, bureau drawers
opened and dumped, pillows ripped open with knives. But no
one is there.
INT. VERNON'S DESK - DAY
Eddie's shaking hand can barely hold the phone.
EDDIE
Yes... I... I need to report a
murder. Eddie. Morgan. --Edward J.
I won't.
He puts down the phone, puts his head in his hands.
VARIOUS CUTS OF: Eddie sitting. Shifting his butt in various
positions. Holding a BASEBALL BAT he's found --just in case
"they" come back.
EDDIE (V.0.) (CONT'D)
It took them forever. And the
longer I sat there, the clearer I
saw... Vern had known whoever had
done this. He'd opened the door.
CLOSE ON - EDDIE'S FACE
EDDIE (V.0.)
And one guess what they'd been
looking for.
28.
INT. VERN'S BEDROOM - DAY
Eddie, cleverly wearing kitchen gloves, is now furiously
tearing through the rubble the thieves have left behind, the
scattered clothes, under the bed...
INT. BATHROOM -. DAY
Eddie pokes quickly through the medicine cabinet -- nothing
but Tylenol.
INT. VERN'S LIVING ROOM - DAY
Eddie sits on the couch with (dead) Vern, staring at him, as
if a corpse could give up a secret. He looks down at VERN'S
BREAKFAST CONTAINER.
EDDIE
At least you got your last meal.
There are lots of takeout containers around.
EDDIE (CONT'D)
You never did like to cook...
Eddie's eye falls on VERN'S STOVE. Unlike the rest of the
kitchen area, it's pristine. Unspattered. Eddie jumps up.
VERN'S STOVE - CLOSE
Eddie opens it. The inside is as clean as the outside. We
HEAR SIRENS now -- the cops are finally coming, and Eddie
must rush. Eddie pulls out
THE BROILER - CLOSE
Taped to the inside is A LARGE BROWN PADDED ENVELOPE.
Slowly, Eddie pulls out the package, reaches into it.
EDDIE'S HANDS - CLOSE
He is holding about TWENTY THOUSAND DOLLARS in cash. But
that's not all. He reaches in again... there's something else
inside... Eddie's hand pulls out a LITTLE BLACK ADDRESS BOOK.
But there's still something else.. he reaches in again. And
now Eddie's hand pulls out A PLASTIC CONTAINER WITH AN AIR-
LOCK SEAL... he pries the seal off... Inside are FIVE HUNDRED
OF THE LITTLE WHITE PILLS.
Eddie HEARS THE THUD OF APPROACHING FEET, voices. Making a
decision, he quickly tucks the envelope into his jacket,
jumps down from the chair... JUST AS A COP pushes through the
door.
(CONTINUED)
29.
CONTINUED:
He sees Eddie, spins, POINTS HIS GUN right at him.
COP
Let me see your hands.
Eddie throws his arms in the air.
EDDIE
Heyheyhey! I'm the one that called
you!
INT. POLICE PRECINCT - DAY
Eddie sits, making his statement to an overweight DETECTIVE.
EDDIE
... No, ex-wife's brother. I just
ran into him on the street and he
invited me up to, you know...
The Detective looks at him suspiciously.
DETECTIVE
Buy some drugs?
EDDIE
Wha-- No! Talk! What're you --
DETECTIVE
Okay, fine, what did this guy do?
EDDIE
He was -- I don't know, I heard he
was sort of an antiques dealer.
DETECTIVE
A dealer?
CLOSE ON THE ENVELOPE hidden in his jacket, burning a hole in
his side. Eddie tries to stay calm.
EDDIE
Yeah... of, uh... Viennese kind
of... chairs... sort of curlicue
leg kind of things--
The phone is ringing. The detective picks it up.
DETECTIVE
(INTO PHONE)
Yeah. That is correct. An Edward
Morgan. He's here.
(CONTINUED)
30.
CONTINUED:
Mysteriously, the Detective hands the phone to Eddie.
DETECTIVE (CONT'D)
The victim's sister.
FLASH!
EXT. A BEACH - DAY
Eddie sees young, beautiful Melissa, laughing, in the surf.
INT. POLICE PRECINCT - DAY
Eddie can't believe it. He stares at the phone, then finally
speaks into it.
EDDIE
Melissa?
MELISSA'S VOICE
Eddie. You were there?
EDDIE (V.O.)
I hadn't heard her voice in 10
years.
EDDIE (CONT'D)
Right before. I'd just run into him
on the street.
MELISSA'S VOICE
God.
(BROKEN)
This is all so weird...
EDDIE
Melissa --you don't think I had
anything to do with-
MELISSA
No, no, no, Eddie, I know that. I
wish I was more surprised. He
was... involved in some stuff... I
better not say any more.
EDDIE
Not on this line, no.
A beat. Eddie still can't believe he's talking to her.
EDDIE (CONT'D)
Melissa... maybe...
(a deep breath)
(MORE)
(CONTINUED)
31.
CONTINUED:
EDDIE (CONT'D)
Do you want to... meet somewhere,
or...?
He lets it hang in the air for a moment.
MELISSA'S VOICE
Eddie, I've got to do the funeral.
And God knows what else. I just...
we can't meet, okay?
EDDIE
Then... I'll see you at the
funeral.
MELISSA
No. I don't want that - please
don't... I'll call you at some
point, when this is over. Okay?
EDDIE
Okay.
A beat. Melissa's voice is wan, vulnerable.
MELISSA'S VOICE
Okay.
She's hung up. Gone. Eddie turns back to the detective who's
staring intently at him.
DETECTIVE
Something doesn't jell here.
Eddie tries not to look panicked. The cop looks up, taking in
the entrance of THREE newly arrested HIGH CLASS HOOKERS.
They are young. They are blond. They are wearing very short
skirts and fuck-me heels. The cop eyes them appreciatively.
EDDIE (V.O.)
But I knew, when his attention
wandered to something more
pressing, that he was going to let
me go.
EXT. PRECINCT - DAY
Eddie walks down the stairs, shaken up but profoundly
relieved. Even a little giddy. Then he stops.
(CONTINUED)
32.
CONTINUED:
EDDIE (V.0.)
Only then did it occur to me that
someone could have followed me from
Vern's apartment.
EXT. THE STREET - DAY
Eddie walks, trying to cast inconspicuous glances over his
shoulder.
EDDIE'S POV - THE STREET
Is this guy following him? That guy? They all look innocuous.
They all look threatening. He has no idea.
INT. EDDIE'S APARTMENT - DAY
EDDIE (V.0.)
Probably not. Hopefully not.
Worth the risk?
Eddie enters, and, casting a surreptitious look around,
closes the door behind him.
INT. EDDIE'S DINING TABLE - DAY
The cash, the address book, and the bottle of pills are all
laid out on the table. Eddie sits, looking at them, realizing
that his life is now about to be jump-started. Yeah. Worth
the risk. A smile twitches at the corner of his mouth.
MUSIC UP UNDER:
EXT. MADISON AVENUE - DAY
Eddie is walking down the street, a brisk confidence in his
step, that penetrating gleam of intelligence back in his
eyes. We know right away that he's on MDT.
EDDIE (V.0.)
Back on MDT, it was obvious what I
should do.
INT. A HIP DOWNTOWN MENS STORE - DAY
Eddie is being fitted for a sharp looking jacket. The camera
moves to the mirror and we are suddenly (CONTINUOUS SHOT) in--
INT. TRENDY DOWNTOWN SALON - DAY
A hip, pretty girl is giving Eddie a haircut.
(CONTINUED)
33.
CONTINUED:
EDDIE (V.0.)
Vern's cash...
THE CAMERA CONTINUES TO PAN... but instead of finding him the
chair we are...
INT. GYM - DAY
Eddie's doing crunches, getting in shape.
EDDIE (V.0.)
...combined with an unprecedented
surge of motivation...
THE CAMERA PANS to the mirror... but sees a reflection of...
INT. EDDIE'S APARTMENT - DAY
He sits at his computer, a salad beside him. His printer
spits out page after page of manuscript.
EDDIE
...enabled me to finish the book in
four days.
INT. MARK SUTTON'S OFFICE - DAY
Eddie puts down a thicker manila envelope on Mark's desk.
Mark is astonished.
INT. A SUGAR BOWL ON EDDIE'S TABLE - DAY
It contains ten tablets of MDT. Eddie's fingers reach in,
take one.
EDDIE (V.0.)
A tablet a day... kept the torpor
away. And what I could do with my
day... was limitless.
INT. THE MET - DAY
Eddie surveys paintings.
EDDIE (V.O.)
I now had cultural appetites.
INT. A PIANO CONCERT - DAY
Eddie sits attentively in the audience, reading the score
along with the music.
(CONTINUED)
34.
CONTINUED:
EDDIE
Learned to read music in a week...
INT. THE EAST RIVER - DAY
Eddie runs, earphones on his head. We HEAR, dimly, French
phrases.
EDDIE V.0.
Even half-listening to any
language, I became fluent...
Eddie becomes aware that there's ANOTHER RUNNER --a powerful-
looking man, gaining on him, closer behind than makes him
comfortable. Eddie flicks a glance over his shoulder.
EDDIE (V.0.)
The only cloud was the nagging
feeling I was being followed.
With a surge of effort, Eddie speeds up, sprinting across the
street just after the light changes. WHIZZING TRAFFIC cuts
the mysterious runner off, stops him from following. He
remains, panting, at the light.
EDDIE (V.0.) (CONT'D)
Was I? Or did MDT create paranoia?
INT. EDDIE'S APARTMENT - DAY - (SERIES OF SHOTS)
EDDIE (V.0.)
The focal point of my existence
quickly became... protecting my
stash.
CLOSE ON: the plastic baggie of pills being DUCT TAPED inside
the top of EDDIE'S BROILER. He SLAMS the broiler closed.
EDDIE (V.0.) (CONT'D)
Call it a homage.
INT. A BAR - NIGHT
Eddie stands there, in his new clothes, holding court. He has
an entirely new aura. It's commanding.
EDDIE (V.0.)
I had a new, improved game.
He banters flirtatiously with a BEAUTIFUL WOMAN.
(CONTINUED)
35.
CONTINUED:
EDDIE (V.0.) (CONT'D)
(PLAYFULLY)
So you're saying that any author
who's commandeered adjective
status, "Orwellian, Dickensian--"?
BEAUTIFUL WOMAN
--is prosaic. Yes.
EDDIE
Which means a prosaic author's work
rests on a foundation of acclaim-
BEAUTIFUL WOMAN
OR ZEITGEIST-
EDDIE
So you're saying praise and fame
are unrelated to achievement, that
the greatest hits CD cannot
possibly contain good songs? That
Shakespeare's catchiness belies
mediocrity?
BEAUTIFUL WOMAN
I...
She breaks off, shrugs, smiles.
EDDIE
Well, then I'd guess you'd rather
not hear about what I, personally,
think could launch a thousand
ships?
He puts a finger under her chin. He means her face, of
course. The woman smiles, and blushes.
EDDIE (V.0.) (CONT'D)
Fish in a barrel.
INT. UPSCALE BAR BATHROOM - (UNISEX, FOR ONE PERSON) NIGHT
TIGHT SHOT (LEGS ONLY) OF this regal, upscale women's panties
down around her high heels and Eddie's legs between hers,
pumping. A VASE shatters to the floor beside their feet,
spilling its pricey orchids.
EDDIE (V.0.)
And it wasn't just women. I was,
for the first time in my life, a
presence...
36.
INT. ANOTHER BAR - ANOTHER NIGHT
The CAMERA circles around a European-looking crowd... that's
clustered around Eddie. He's finishing a long story -in
French.
EDDIE (V.O.)
Of course, all this seemed to work
better with people I didn't know...
than with people who knew me...
INT. A MODEST QUEENS LIVING ROOM - DAY
Eddie's MOTHER and FATHER, working class schlubs, sit on the
floral sofa, staring at their now-dapper son, who is waving
some paperwork in their faces.
EDDIE
...so, Mom, your 401 K is totally
mis-invested -- these guys are have
done ONLY the most Pliocine era
fundamental analysis and paid no
attention to eye candy psychology
surrounding the stock --
(realizing they're lost)
Okay, remember when I explained
default flops? Did any of that
stick?
(THEY'RE LOST)
CDS's? CDO's CBO's?
His parents stare at him. They don't know what to make of any
of this.
EDDIE (V.0.) (CONT'D)
I quickly returned to the
unfamiliar audience.
INT. ANOTHER UPSCALE BAR - NIGHT
A sizable crowd is around Eddie, including finance types in
suits.
EDDIE
--Sure you get a short term spike,
but wouldn't that rapid expansion
devalue the stock completely in two
years?
A well-dressed broker - KEVIN DOYLE - shakes his head.
KEVIN DOYLE
No, no, there are safeguards--
(CONTINUED)
37.
CONTINUED:
EDDIE
Against aggressive over-expansion?
There aren't, because there are no
safeguards in human nature.
Eddie's tone isn't aggressive -- it's genial, amusing.
EDDIE (CONT'D)
We're wired to overreach -- you
look at history, I mean, all the
countries that ruled the world?
Portugal? With its big, butch navy?
All that's left is salt cod and
cheap condos -- the Brits? Now they
just sit on their dank little
island, fussing over their suits.
Nobody stops and thinks, hey, we're
doing pretty well, we've got Poland
and France, and a big Swiss bank
account -- let's not invade Russia
in the winter! Let's go home and
pop a beer and live off the
interest!
The crowd laughs. Eddie takes a swallow of his drink.
KEVIN DOYLE
(smiles, gets it)
Yeah. It'll all happen again.
Eddie toasts him.
EDDIE
Hey, I want in on it!
Kevin Doyle, wishing Eddie was right, clinks his glass.
EDDIE (V.0.) (CONT'D)
My brain was just pouring this
stuff out. Everything I'd ever
read, heard, seen, was now
organized and available --here it
is, here you go..
EXT. THE BAR - NIGHT
Eddie leaves with several people. Kevin Doyle presses a card
into Eddie's hand.
KEVIN DOYLE
You must have a portfolio, but if
you don't, I'd be very interested
in working with you.
(CONTINUED)
38.
CONTINUED:
Eddie politely takes his card. Smiles charmingly.
EDDIE
Thank you so much.
EDDIE (V.0.) (CONT'D)
"I must have a portfolio." Very
well -- if I must, I must.
INT. EDDIE'S APARTMENT - NIGHT
Eddie pulls out the broiler and removes the ENVELOPE OF CASH
he's taped in there. It's much thinner.
EDDIE (V.O.)
But Vern's cash was low. And it
takes cash to make cash...
INT. MARK SUTTON'S OFFICE - DAY
Eddie stands opposite Mark's desk.
EDDIE (V.O.)
But it takes cash to make cash...
Another ELEGANT MAN is there too, Mark's boss, DUNHAM.
EDDIE (CONT'D)
I'd like to re-negotiate my
advance.
DUNHAM
Well... sit down, we'll be
discussing that.
MARK SUTTON
First, ah... I want to apologize,
Eddie, if I in any way communicated
a lack of faith in your abilities.
Eddie smiles coolly. In control. It's Mark who's a little
nervous.
MARK SUTTON (CONT'D)
Mr. Dunham has read your pages, and
we're prepared to make you what I
hope will be a very exciting offer.
DUNHAM
What would you say to ten thousand
more and another forty down the
road?
(CONTINUED)
39.
CONTINUED:
Eddie holds there gaze, expressionless, but says nothing.
After an uncomfortable moment, Dunham continues.
DUNHAM (CONT'D)
We think this could be an important
title, maybe one in a series. I
have to say, you came out of
nowhere, but the good ones always
DO-
EDDIE
(INTERRUPTING HIM)
This isn't going to work.
DUNHAM
What's not going to work? The
money?
MARK SUTTON
Eddie, we take you very seriously
as a writer.
Eddie sounds almost regretful.
EDDIE
Yes, but I now see that writing, as
a profession, is for marginalized
whiners not fit for anything else.
Sutton thinks Eddie's kidding. He laughs nervously.
EDDIE (CONT'D)
No, I mean it, look at the life.
Incarceration, loneliness,
burrowing down into your own
psyche, increasingly insulated from
any truth, because you're not in
the currents of the world any more,
you're rattling around inside the
cage of your brain, self-
cannibalizing...
Dunham realizes he's losing Eddie, and jumps in.
DUNHAM
You don't think a best-selling
author would disagree?
(CONTINUED)
40.
CONTINUED: (2)
EDDIE
Oh, if you're good, there's some
remuneration, eventually, after
paperbacks, but at best your
career'll be oozing along like a
snail, a few thousand more copies,
whoop-dee-doo, you're "developing a
readership," -- for what? So you
can end up in Phoenix on a Saturday
night reading from your own work at
some holdout indie book store to a
bored audience of ten? --Half of
them there for the wine and cheese?
MARK SUTTON
Yes, but if your goal is to have a
VOICE-
EDDIE
(INTERRUPTING)
I don't think any goal will be
really achievable, Mark, until I'm
sitting on a large pile of cash.
The mens' mouths open. Then shut.
INT. EDDIE'S LIVING ROOM - NIGHT
Financial reading material covers every square inch of floor.
Eddie now has three monitors operating side-by-side in his
living room, all spewing forth financial information as he
works the keyboard...
EDDIE (V.0.)
I would have to start very, very
small... in a down market. No one
was making money. But no one had
MDT...
INT. AT A COMPUTER (LAFAYETTE TRADING FIRM) - DAY
Eddie stands behind a DAY TRADER who's spewing out an
explanation of his work.
DAY TRADER
You've got your quantitive analysis
- "quants..." Algorhythms to find
minute price discrepancies...
you're looking at numbers only.
Price and volume patterns...
Eddie is staring at the screen, blocks of information forming
and connecting in his mind.
41.
INT. EDDIE'S APARTMENT - DAY
Eddie now sits, riveted to his laptop, keying.
EDDIE
Armed with Vern's last 800 dollars,
I made 4000 in a day.
(BEAT)
It was too slow.
TIME/DAY CUT TO:
Eddie, differently dressed, surrounded by stacks of research,
again keying away...
EDDIE (V.O.) (CONT'D)
Next day: $7,500.00
(BEAT)
Still too slow. I needed more
capital...
INT. A COFFEE SHOP - DAY
Eddie sits across from a sinister-looking young Russian in
his early 30's. This is GENNADY.
EDDIE
Why not?
The two men stare at each other.
GENNADY
Because I don't see you before. And
I don't fucking like you already.
Why do I give you 100 thousand
dollars?
EDDIE
Because I quintupled my money four
days in a row.
Gennady barely glances at the papers Eddie pushes in front of
him and snorts, half amused, before pushing them back.
GENNADY
You're lucky.
EDDIE
It's not luck.
GENNADY
Okay, you tricked their computer,
you got some fix on the game.
(CONTINUED)
42.
CONTINUED:
Eddie now sees that it's better not to admit that he came by
the money legally.
EDDIE
You think?
Gennady smiles.
GENNADY
So you're a crook.
EDDIE
And that's a problem for you
because--?
Gennady laughs for a second. Eddie's not wrong about that.
Gennady looks in Eddie's eyes for a moment, calculating.
GENNADY
You people all get caught.
EDDIE
I won't. And what if I do? You
think I keep detailed records of my
investors? You'll have your money
back long before they figure out
what happened.
Gennady just looks at Eddie, thinking it over.
INT. WASHINGTON SQUARE PARK - DAY
Eddie sits on a bench, waiting. Gennady appears. Hands Eddie
a large paper bag. Eddie reaches for it; Gennady holds it
aloft for one last second.
GENNADY
Okay, you take this... you mine.
You don't pay, you know what we do?
We cut you around the waist, peel
your skin, pull it up over your
head and tie knot in it. And you
don't die from that. You suffocate.
He lets the full picture sink in for a moment. Then:
INT. LAFAYETTE TRADING - DAY
Cubicle after cubicle of GUYS - all guys - at computers,
rolling the dice on the stockmarket.
(CONTINUED)
43.
CONTINUED:
EDDIE (V.0.)
My new friend, Kevin Doyle, showed
me how you could leverage two and a
half times your cash at a day-
trading firm...
Eddie alone in a stall. He takes TWO MDT TABLETS out of his
wallet, downs them.
EDDIE (V.0.) (CONT'D)
I'd been upping the dose for over a
week. It seemed to cut my learning
curve.
OVERLAPPING DISSOLVES of Eddie working at a furious pace.
Another trader stands behind Eddie, watching. Second shot:
three traders are watching. Third shot: nine traders are
watching him, awed.
EDDIE (V.0.) (CONT'D)
It was instinct. But informed
instinct -- instinct based on huge
amounts of research, which, thanks
to MDT, was conducted more rapidly
and comprehensively than anyone at
Lafayette Day Trading would ever
know...
TRADER BEHIND HIM
Why are you buying that? The CEO
just got indicted...
EDDIE
But not for the big fat defense
contract he bribed his way into.
That's still on. Should be
announced in a week.
The trader shakes his head. How did Eddie know that?
EDDIE (V.0.) (CONT'D)
At the end of the week my brokerage
account contained... over a million
dollars.
INT. LAFAYTTE DAY TRADING - OVERHEAD SHOT OF ROOM -- "GOD
SHOT"-
As still more people drift over to where Eddie is sitting...
(CONTINUED)
44.
CONTINUED:
EDDIE (V.O.)
I'd heard the old metaphors about
the stock market: it was a
collective nervous system, a global
brain, a numerical representation
of the will of God...
EDDIE - CLOSE
Eyes taking in data, fingers reacting on the keyboard...
EDDIE (V.O.)
Whatever it was, I was jacked in,
booted up - my mind was living
tissue inside the greater,
functioning whole.
(BEAT)
By the end of the second week I had
2.6 in the bank....
INT. LAFAYETTE DAY TRADING BUILDING - DAY
Eddie at the computer, soaking up information, making trades.
Kevin Doyle stands behind Eddie, flabbergasted as he watches.
EDDIE (V.0.)
The word quickly got out.
INT. EDDIE'S LIVING ROOM - DUSK
Quick cuts of Eddie playing back his messages:
EDDIE'S MACHINE
You have... 19 messages.
EDDIE (V.0.)
Four job offers... my bank, raising
my line of credit... a reporter...
FEMALE VOICE
Listen, return my call, Mr. Morgan,
this article's about you's gonna
get written with or without your
cooperation... (BEEP!)
EDDIE (V.0.)
(SARDONIC)
All my new friends.
GENNADY'S VOICE
...you stupid shit, I be there
Thursday for the money, ten
o'clock!
(CONTINUED)
45.
CONTINUED:
Eddie makes a jerk-off motion, crosses to his window, looks
down.
EXT. EDDIE'S POV - HIS STREET - DUSK
There is a MYSTERIOUS BLACK CAR just sitting at the curb, in
front of his building. No one gets in or out. Eddie turns
back to his machine.
EDDIE (V.0.)
And finally, Kevin Doyle, trying to
sound casual.
KEVIN DOYLE'S VOICE
Eddie, I was having drinks with a
friend of mine, and... ah, you
won't believe this...
INT. A FANCY ITALIAN RESTAURANT - NIGHT
Lindy, Eddie's ex-girlfriend, is sitting across the table
from Eddie. She peers at him, confused. Is this dapper
stranger really her shlumpy ex?
LINDY
Carl Van Loon wants to meet you?
EDDIE
Apparently he does.
She is pleased for him, but flabbergasted.
LINDY
But you're not in the finance game.
What can you do for Carl Van Loon?
(shaking her head,
MYSTIFIED)
Eddie-- I --
THE BEAUTIFUL HOSTESS appears at Eddie's side. They have a
brief conversation in Italian. Lindy stares, confused, as the
hostess leaves.
LINDY (CONT'D)
Since when do you speak... what
happened to you?
EDDIE
Self-improvement month. Someone
gave me a wake-up call.
(CONTINUED)
46.
CONTINUED:
LINDY
God, Eddie -- I felt so bad about
that.
EDDIE
Why? It stuck, didn't it?
Lindy eyes him, half pleased, half apprehensive. He seems so
different.
LINDY
You didn't do all this for me.
EDDIE
Who says I didn't? So what -- it's
not getting over? Is that it?
Lindy looks away, blushes. Sighs.
LINDY
All right, all right -- boy, you
are really begging for it.
EDDIE
Begging for what.
LINDY
"I'm proud of you."
EDDIE
Gosh. This is so unexpected.
LINDY
I'm actually... more than proud.
I'm a little...
Eddie waits for her words, happily expectant.
LINDY (CONT'D)
... intimidated.
They smile at each other. A lot of affection flooding back.
EDDIE (V.0.)
Of course, we started up again.
INT. LINDY'S APARTMENT - NIGHT
Eddie is making out with her on her couch.
EDDIE (V.0.)
Her place...
47.
INT. EDDIE'S APARTMENT - NIGHT
EDDIE (V.O.)
My place...
His apartment has been seriously transformed. Of course, it's
nothing but a renovated tenement, but there are some new
furnishings, rugs, lighting-- the total effect is now one of
stylish prosperity. She and Eddie sit on the rug in front of
the coffee table, drinking expensive wine.
INT. THE BACK SEAT OF A CAB - NIGHT
Eddie and Lindy, dressed to the nines, are clearly returning
from a fancy party... and passionately entwined, at the point
of having hot sex, driver or no driver!
EDDIE (V.0.)
Every place.
INT. EDDIE'S BEDROOM - NIGHT
Eddie stands, naked, at the window, looking out.
LINDY
What are you doing, hon?
EDDIE
Nothing.
He walks back over to her, looks down. She is snuggled up in
Eddie's pillow, looking very pretty and vulnerable.
LINDY
What, you think somebody's
watching?
EDDIE
No.
He's lying. He's not sure.
LINDY
Is there anything you want to tell
me, Eddie? Now's the time.
He looks back at her, eyes unreadable. He shrugs.
EDDIE
With success comes enemies.
LINDY
Old Chinese proverb?
(CONTINUED)
48.
CONTINUED:
EDDIE
No proverb. An inevitability.
LINDY
You should sleep. Isn't your Van
Loon meeting tomorrow?
Eddie nods, sighs, turns away from the window. Then stops. He
turns pale. Is sweating.
LINDY (CONT'D)
What. What.
Eddie takes a step. And suddenly... He's across the room.
Boom. A skip in time.
EDDIE (V.0.)
Then... I found myself at the door.
With no consciousness that I had
moved.
He puts his hand on a table, steadies himself. He catches a
look, in the mirror, of this lean, handsome, dapper shark he
has become.
LINDY
Are you all right?
He doesn't look all right.
LINDA
When was the last time you ate
something?
Dully the realization penetrates Eddie's fog:
EDDIE (V.O.)
It had been three days.
INT. THE ORPHEUS ROOM - NIGHT
Eddie sits at a table, discreetly wolfing a few appetizers.
Kevin Doyle arrives, looking a little nervous.
KEVIN
Hey.
He sits, launches in.
KEVIN (CONT'D)
He'll be here in ten. Now look,
since we have a minute, be warned:
Van Loon's mercurial.
(MORE)
(CONTINUED)
49.
CONTINUED:
KEVIN (CONT'D)
One minute your best friend, the
next...you're a leper. And he needs
direct answers... anything
tentative and you've lost him
forever. I think we should rehearse
a few scenarios..
EDDIE
I'm eating, Kevin.
There is so much quiet authority in Eddie's tone that Kevin
just shuts up. But a moment later, looking at the sweat on
Eddie's brow, Kevin is pecking at him again.
KEVIN
You up for this? You sure? Because
I've got a little bit on the line
HERE-
EDDIE
Have a toast point.
Brazening it out again. Because Eddie isn't sure he can pull
this off either.
ACROSS THE ROOM - LATER
There is that little stir from the hostess and staff that can
only mean the entrance of a very rich and powerful man.
EDDIE'S TABLE -LATER
The martini is put down on the table. We tilt up to CARL VAN
LOON, a young 50, no less vital and intense than the
hungriest 27-year-old shark on the make. But he affects
geniality. He sits; the middle-aged man with him, PIERCE,
does the same.
VAN LOON
So. Eddie Morgan.
He looks Eddie directly in the eyes.
VAN LOON (CONT'D)
What's your secret?
A beat. Eddie looks at him back, directly in the eyes.
EDDIE
Medication. I'm on special
medication.
Another beat. And Van Loon laughs. Pierce doesn't.
50.
ANOTHER ANGLE - LATER - THAT NIGHT
Eddie is in mid-spiel, Van Loon listening intently.
EDDIE
--Yes, that's partially what I'm
SAYING--
PIERCE
(CONTEMPTUOUSLY)
Pattern recognition? So that's your
snake-oil? Look, if there's one
thing we all understand, it's
understanding itself --that's how
the business works...
(SCOFFING)
Pattern recognition. Please.
EDDIE
(POINTEDLY)
Of course, not everyone can
understand the patterns.
Kevin sucks in his breath. Pierce is annoyed. Van Loon is
mildly amused, but not necessarily impressed. Eddie
continues with his unstoppable, MDT-fueled insights:
EDDIE (CONT'D)
Look, there's no time for human
judgement anymore. You see a
chance, you blink, and it's gone.
We entered the age of
decentralized, online decision-
making, with the decisions being
made by hundreds of millions of
individual investors around the
world, people who don't even know
each other -- making a killing in
less time than it takes to sneeze.
PIERCE
Until they weren't.
EDDIE
Same rules, even in a panic. It's
not understanding how companies
work. It's understanding how mass
psychology works.
PIERCE
(SCOFFING)
And you have a formula.
(CONTINUED)
51.
CONTINUED:
KEVIN
(MEDIATING)
Well, from 12 thousand to two point
eight million in ten days--
EDDIE
Yes. I do have a formula, Mr.
Pierce.
PIERCE
(SNORTING)
Delusions of grandeur.
EDDIE
I don't have delusions of grandeur.
A beat, as we PUSH IN on Eddie's face.
EDDIE (CONT'D)
I have an actual recipe for
grandeur.
Kevin stares in horror. Van Loon still says nothing.
EXT. THE ORPHEUS ROOM - NIGHT
Eddie simply stands there coolly; Kevin is nervously saying
goodbye to Van Loon and Pierce, making small talk.
KEVIN
..and, oh, you know, she's on the
wait list... Rosemary's pretty
devastated...
VAN LOON
My daughter went there. I'll call
the school for you.
Kevin blubbers with gratitude. Van Loon's car pulls up. Kevin
pumps his hand. Van Loon looks past Kevin -- to Eddie.
VAN LOON (CONT'D)
Eddie. Ride?
It's the first real acknowledgement that he's taken Eddie
seriously.
INT. VAN LOON'S LIMO - MOVING - NIGHT
Eddie and Van Loon regard each other. Finally, Van Loon
speaks.
(CONTINUED)
52.
CONTINUED:
VAN LOON
I don't know who you are, Eddie, or
what your game is, but I'm sure of
one thing: you don't work in this
business. I'm up to my ass in
investment guys, and you don't have
their half-cocky, half-terrified
line of bullshit. Which is not to
say I like yours any better.
He picks up a file, hands it to Eddie.
VAN LOON (CONT'D)
But you obviously pick your stocks
in a way I haven't seen. So tell
me. We're thinking of acquiring
these companies. Take a few
minutes. What's your take on them?
EXT. EDDIE'S APARTMENT BUILDING - NIGHT
Van Loon's limo pulls up.
INT. VAN LOON'S LIMO - NIGHT
Eddie snaps the file shut, hands Van Loon back his pen
flashlight.
EDDIE
But these companies aren't the
question, are they?
VAN LOON
What do you mean?
EDDIE
Well -- you're upmarket energy --
what do you want with these little
solar/windmill/hippie outfits?
Van Loon's gaze is expressionless.
EDDIE (CONT'D)
--Unless you wanted to play both
sides of the fence, control the
whole energy enchilada. But these
wouldn't get you there in emerging
markets. You'd need...
He eyes Van Loon, who is sitting up straighter. Eddie's hit
a nerve. He smiels, whistles.
(CONTINUED)
53.
CONTINUED:
EDDIE (CONT'D)
Whoa, whoa. This must be some big-
ass merger you're contemplating.
A flicker in Van Loon's eyes. Bullseye.
EDDIE (CONT'D)
And there's really only one company
with enough bling to justify a
merger with Van Loon Associates...
VAN LOON
Have you been talking to somebody-?
EDDIE
Carl, it's just rationalization.
He says it like it's the simplest thing in the world. Which,
to a person on MDT, it is.
Van Loon grinds his teeth. Wanting to talk about it, but too
skittish.
EDDIE (CONT'D)
Is Hank Atwood going to go for it?
A long beat.
VAN LOON
You are either an amazing con
artist or a very smart young man.
EDDIE
Come on -- the two of you together?
The world would have to come to you
begging for energy like Oliver
Twist with his little bowl of
gruel.
A beat as the two men stare at each other.
VAN LOON
You realize that if the press got
one whisper of -- I can't fucking
believe I'm even discussing this--
EDDIE
It doesn't matter. It won't come
off.
Now Van Loon chuckles, amused by Eddie's audacity.
(CONTINUED)
54.
CONTINUED: (2)
VAN LOON
The word "brazen" does not even
begin to go there.
EDDIE
You'd have to back off Libya.
VAN LOON
Why? He's come this far--
Eddie suddenly pulls back the bait.
EDDIE
I don't think you'd want to hear
about it from some shmuck who needs
a ride home.
VAN LOON
You're a gusty little prick, Eddie.
EDDIE
Ooh. Now you're curious.
VAN LOON
Yeah. I must admit. You've hit a
couple pretty big buttons. Go on.
Tell me what you think.
EDDIE
(DISMISSIVE)
It's getting late.
Van Loon laughs.
VAN LOON
All right. You get your shot. Come
to my office, tomorrow at ten, and
tell me just exactly how the
schmuck who needs the ride would re-
structure this deal.
Eddie nods.
VAN LOON (CONT'D)
And you better be prepared.
EDDIE
I'm at your disposal.
Eddie opens the car door. Van Loon eyes his building, scoffs.
VAN LOON
You don't really live here...?
(CONTINUED)
55.
CONTINUED: (3)
Eddie smiles.
EDDIE
The Spartans weren't big on
amenities.
VAN LOON
Yeah. And they eventually got their
asses kicked.
He gets out. Van Loon drives off.
EXT. EDDIE'S BLOCK - NIGHT
EDDIE (V.0.)
I didn't go in.
Eddie keeps walking by his building.
EDDIE (V.0.) (CONT'D)
I wanted to walk, move, digest,
ingest...
His stride picks up, buoyantly.
EDDIE (V.0.) (CONT'D)
There are moments in life, moments
when you know you've crossed a
bridge, your old life is over. Van
Loon was my bridge. One week, two
weeks from now, I would be
hobnobbing with ambassadors, flying
to Dubai for meetings, blowing off
supermodels, vacationing in Medici
villas... And that too, was only a
bridge...
He steps off the curb.
EDDIE (V.0.) (CONT'D)
Suddenly...
A SHARP, JARRING
CUT TO:
EXT. HOUSTON STREET - NIGHT
Eddie is stepping off another curb, God knows where.
EDDIE (V.0.)
There was another skip.
(CONTINUED)
56.
CONTINUED:
He stops, rocked.
EDDIE (V.0.) (CONT'D)
How had I gone that last 20 blocks?
I got another ten...
ON EDDIE WALKING...
EDDIE (V.0.)
... then...
...in mid-step...
EXT. UPPER 5TH AVENUE - NIGHT
Eddie is walking past the Metropolitan Museum.
EDDIE (V.0.)
I was back uptown.
A SHARP, JARRING CUT TO:
INT. A CLUB - NIGHT
Eddie is suddenly sitting at a bar, picking up a drink,
people around him...
EDDIE (V.0.)
What bar was this? Was it
Harlem...?
A SHARP, JARRING CUT TO:
Eddie is dancing with a BEAUTIFUL BLACK WOMAN...
EDDIE (V.0.)
Same bar? Different bar? How long
had passed...?
He breaks away from her, starts for the door...
A SHARP, JARRING CUT TO:
INT. A CLUB LADIES ROOM - NIGHT
Eddie comes to in the act of banging THE BEAUTIFUL BLACK
WOMAN savagely, against the stall door.
EDDIE (V.0.)
And it happened again--
A SHARP, JARRING CUT TO:
57.
EXT. HARLEM STREET IN FRONT OF BAR
Bam! A LARGE BLACK MAN crumples in front of Eddie -- goes
down, hit, blood pouring from his nose. (Could he be the
boyfriend of the girl Eddie's just banged?) Eddie stares at
his bloody fist. It hurts--!
EDDIE (V.0.)
And again...
INT. A LOFT - NIGHT
EDDIE (V.0.)
And again...
Eddie sits on a plush sofa with several MIDDLE-AGED
INTERNATIONAL TYPES, some chattering in Italian.
He has a drink in his hand. There are paintbrushes, paints
and canvasses strewn around... a live/work space.
EDDIE (V.0.) (CONT'D)
And again...
A SHARP, JARRING CUT TO:
(And now the images are speeding up:)
INT. A HOTEL CORRIDOR - NIGHT
Eddie is walking down the plush corridor with an ATTRACTIVE
MIDDLE-AGED LATIN WOMAN we saw at the artist's loft... Now
it's just FLASHES --skimming stones of consciousness-A WINE
CORK being popped. A PLATE OF MUSSELS swimming in wine sauce.
Rumpled SHEETS. And then...A BLUR OF MOTION -- bodies, a
swirl of riotous color --
A FRENZY OF SHOTS: A CAB STOPPING. A GARGOYLE ON A BUILDING.
A DOG LEASH ABANDONED IN A PUDDLE. No rhyme, no reason, just
image, image, image...
And then blackness.
EXT. THE BROOKLYN BRIDGE - DAWN
Eddie is walking, now with a limp. He stops. Looks back. The
familiar postcard view of Manhattan is ahead of him, looking
like it always looks.
EDDIE (V.0.)
When it finally stopped, I couldn't
account for the last eight hours of
my life.
(CONTINUED)
58.
CONTINUED:
He notices his foot hurts when he puts it down. He has a
limp.
EDDIE (V.0.) (CONT'D)
There was nothing to do but walk
home.
He turns around and limps back towards the island.
INT. EDDIE'S BEDROOM - MORNING
Eddie is sleeping in all his clothes.
EDDIE (V.0.)
It was my first sleep in two days.
INT. EDDIE'S LIVING ROOM - DAY
Eddie, looking very groggy, is holding a THICK PACKET marked
"Van Loon Associates, -BY COURIER." The files Carl Van Loon
sent. Sitting on the dining table is an MDT tablets. He
stares at them.
EDDIE (V.0.)
Should I? Would I start "skipping
time" again?
He pushes the tablets away. Doesn't take them.
ANOTHER ANGLE - TIME CUT
Eddie is sitting in his reading chair, exhausted, going
through the paperwork.
EDDIE (V.0.)
Even off MDT, I decided to give Van
Loon's files a shot.
VAN LOON'S FILES - CLOSE
Eddie leafs through them... pieces of paper charting
corporate growth, covered with charts, graphs, and mind-
numbing statistics. PUSH IN ON Eddie's face, as he
realizes...
EDDIE (V.0.)
They were fucking hieroglyphs.
INT. A WALL STREET OFFICE - DAY
The phone rings. Kevin Doyle picks it up.
(CONTINUED)
59.
CONTINUED:
KEVIN
Hello--? Eddie--? What are you
talking about?
And we CROSS-CUT between them:
EDDIE
I can't make the meeting, I'm,
uh... I'm sick.
It's a lame excuse, it sounds lame as he says it, but then,
he's off MDT.
KEVIN
Yeah, well, you can't have the
fucking flu right now -- he'll
never give you this chance again!
EDDIE
I need to, ah, analyze this data-
We see the two men continue to talk, Kevin growing more
agitated, Eddie growing more sheepish as we HEAR:
EDDIE (O.S.) (CONT'D)
Already I recognized it... the
thick tongue, the leaden synapses.
It was regular Eddie - the Eddie
that, now, was unbearable to be.
We FADE UP THE SOUND on the two men:
KEVIN
... Don't you get it?! This is your
test--!
EDDIE
Well, I can't pass a fucking test
right now!
KEVIN
And how am I going to look if you
don't?
Eddie looks pretty bad. He massages his temples.
EDDIE
Okay, Kevin. Okay.
He hands up on a still-yammering Doyle. He picks up the MDT
pill, looks at it.
(CONTINUED)
60.
CONTINUED: (2)
EDDIE (V.0.) (CONT'D)
It was my first morning off MDT in
a month. The beginnings of a
headache was curling around my head
like a big fat, greasy python.
Again, he looks at the MDT tablet, weighing his options.
EDDIE (V.0.) (CONT'D)
But the time-skips had me scared.
He puts the tablet back down on the table.
INT. THE REGENCY HOTEL RESTAURANT - DAY
Eddie walks in, much more tentative in his stride, fear in
his eyes. This is the real Eddie, the non-MDT Eddie and he
feels suddenly out of place with the curly maple paneling
antique Persian carpets.
EDDIE (V.O.)
My thought -- such as I had one --
was to tap dance with Van Loon
until I could find out more about
MDT.
INT. BAR AREA - DAY
Eddie sits on a couch, Pierce on another chair, Van Loon
opposite, watching him.
VAN LOON
What do you know about Hank Atwood?
EDDIE
Uh... iconoclast... owns, um, a lot
of Colorado...
He's struggling.
VAN LOON
Uh-huh. So this is "prepared,"
Eddie?
He shoots Eddie a look of withering contempt. Eddie holds the
stare and shoots a look back.
EDDIE
What is this, Atwood 101? Everyone
knows about Atwood.
VAN LOON
Where was he two years ago?
(CONTINUED)
61.
CONTINUED:
A flash of panic in Eddie's eyes. What's the right answer?
EDDIE
Nowhere.
An agonizing pause. Then Van Loon nods.
VAN LOON
Two years ago Forbes didn't even
have him on the radar.
EDDIE
Yeah, his Great Leap Forward.
Eddie is faking it. Pierce is looking at him intently. But
Eddie's staying afloat.
VAN LOON
The guy comes on, out of nowhere,
so fucking strong he has me on the
run. Beat me out of two properties,
invests in bumfuck countries with
no oil, places I wouldn't go near,
sextuples his money.
Eddie's glance flicks to the TV behind the bar. A WOMAN'S
PICTURE flashes on the TV screen -- and he recognizes it.
It's the ITALIAN WOMAN he met last night!
VAN LOON (CONT'D)
...Always picks green technologies,
invests in them, and a year later
he owns them.
Eddie strains to hear the ANCHORWOMAN'S VOICE...
ANCHORWOMAN
... found dead in her hotel room
last night, victim of foul play.
Eddie tries to keep his face immobile. Van Loon's voice
drones on, distorted now, as we HEAR Eddie's heart pounding.
VAN LOON
...100 billion if he has a
nickel... and I have to convince
him, somehow, that I can raise his
game.
ANCHORWOMAN
An unidentified eyewitness has
reported seeing a man with a limp
leaving the scene.
(MORE)
(CONTINUED)
62.
CONTINUED: (2)
ANCHORWOMAN (CONT'D)
Anyone with information should
contact local law enforcement
authorities. --Steve?
Eddie bolts upright.
VAN LOON
You can't tell me he's in this to
improve the fucking planet. He
owns a ball team.
Eddie is pale, sweaty, faint. There's only one thing to do:
EDDIE
Excuse me.
Eddie dashes out. Van Loon and Pierce look at each other.
EXT. THE REGENCY - NIGHT
Eddie bursts from the door, VOMITS into the gutter.
EDDIE (V.0.)
I couldn't have.
He leans against a street sign, trying to right himself. He
gasps for breath.
EDDIE (V.0.) (CONT'D)
...or could I?
INT. EDDIE'S LIVING ROOM - DAY
Eddie comes in, breathing wildly, panicked.
EDDIE (V.O.)
If I could walk, talk, conduct
business, seduce a woman, fight--
with no memory... could I kill
someone? Was it even me? Who was
I?!
Immediately the PHONE RINGS. He nearly jumps out of his skin.
He can't answer. He sits on the couch, head in his hands,
rocking, as it rings. Finally, the machine picks up.
MELISSA'S VOICE
Hi, Eddie... it's Melissa. Listen,
call me back as soon as you--
Eddie lunges for the phone, picks it up.
(CONTINUED)
63.
CONTINUED:
EDDIE
Melissa--?
MELISSA
(surprised he picked up)
Eddie--?
EDDIE
Melissa, I want to talk to you.
Please. Meet me somewhere...
MELISSA
We're talking now.
EDDIE
Nonono -- at Charlie's, across the
street. At two.
MELISSA
You can't see me, Eddie.
EDDIE
Please. Melissa -- it's important,
please come -- you have to tell me
what you're talking about!
But she's already hung up.
CLOSE ON - EDDIE'S DRESSER DRAWER - DAY
Eddie's hands rummage through everything...
EDDIE (V.0.)
I realized that there were other
people who might know about MDT...
His hands find what they're looking for. Vernon's LITTLE
BLACK BOOK.
EDDIE (V.0.) (CONT'D)
Vernon's other clients.
INT. EDDIE'S BEDROOM - DAY
Eddie sits on the bed, the black book open on his knees.
Eddie looks at the page, then reaches for the telephone.
Picks it up. Hears STRANGE CLICKS over the dial tone.
He puts down the phone, fear on his face.
64.
EXT. DOWNTOWN STREET - DAY
Eddie walks, slipping through the crowd, trying to suppress
his limp... he looks nervously behind him... is that MAN in
the TAN RAINCOAT following him? He tries to walk faster, but
it makes his limp more pronounced. He turns the corner. He
seems to have lost the guy.
EXT. WASHINGTON SQUARE PARK - DAY
Eddie sits on a park bench, making calls on his cell phone.
EDDIE
Hello, may I speak to Paul Kaplan,
please?
WOMAN'S VOICE
(SUSPICIOUS)
Who is this?
EDDIE
I'm a journalist. From Electronics
Today magazine.
WOMAN'S VOICE
Look... my husband died three days
ago.
Eddie is floored.
EDDIE
I'm... I'm so sorry. Goodbye.
SMASH CUT TO:
Eddie has dialled another number.
EDDIE (CONT'D)
I, ah, may I speak to Jerry Brady?
MALE VOICE
Jerry's in -- who's this?
EDDIE
Uh-- Bill Johnson.
MALE VOICE
Well Bill... Jerry's in the
hospital...
(VOICE QUAKING)
...and he's really sick.
(CONTINUED)
65.
CONTINUED:
EDDIE
Oh my God. What's wrong with him?
MALE VOICE
We don't know. He just started
getting these headaches a couple of
weeks ago...? Then, uh, last
Wednesday he collapsed at work...
SMASH CUT TO:
Eddie turns to the last page of Vernon's book.
EDDIE (V.O.)
Of all the people I called, three
were dead, and the rest were sick.
Eddie dials the last number. Instantly, there is a RING. We
RACK FOCUS TO-The MAN in the TAN COAT, sitting a discreet
distance from Eddie. His phone is ringing. Eddie turns white.
The man takes out his cell phone and answers.
MAN'S VOICE
Hello...? Hello...?
The man suddenly looks up. Locks eyes with Eddie. Knows that
he knows. Eddie leaps up, begins to run. The man leaps up and
follows.
EXT. DOWNTOWN STREET - DAY
Eddie runs desperately, as fast as a person off MDT possibly
can.
He still has the limp from his blackout escapade, too. He
can't run fast.
Tan Coat is gaining. Eddie collides with pedestrians, steps
on street sunglass displays, sends a saxophonist sprawling.
EDDIE (V.0.)
In the end, my stupidity saved me.
Eddie, panicked, not looking, runs for the crosswalk.
EDDIE'S POV - A HUGE TRUCK
is barrelling, unstoppably, right towards him--!
(CONTINUED)
66.
CONTINUED:
EDDIE is frozen. The TRUCK SWERVES, up on the curb. Tan Coat
must dive out of the way, knocking down pedestrians like
bowling pins, as the TRUCK hits a STREETLIGHT, mangling it --
then is WHACKED -- twice -- by TWO CABS piling up behind it.
When Tan Coat extracts himself from the pile of prone
pedestrians, his last glimpse is of-
EDDIE - DOWN THE BLOCK
disappearing down into a Subway entrance. Swallowed by a
crowd.
TAN COAT
hesitates, but knows that he can't catch up. Eddie's given
him the slip. This time.
INT. CHARLIE'S COFFEE SHOP - DAY
Eddie, limping, enters, looking around anxiously.
EDDIE (V.0.)
What was I dealing with? Who could
tell me? I hoped against hope...
that Melissa would show.
EDDIE'S POV - SCANNING THE PLACE
Not one person in it could possibly be Melissa. Eddie sighs.
Turns to go.
FEMALE VOICE (O.S.)
Eddie...?
Eddie turns back. There, sitting at a booth, is a thick-
waisted, short-haired brunette middle-aged woman, wearing a
large, shapeless sweater. Eddie had looked right at her...
and not recognized her. She bears no relationship to the
siren Melissa of his memories. Eddie tries to hide the shock
on his face.
EDDIE
Melissa...?
He goes to her, sits. Yes, it's the same person, but
dramatically, tragically changed. Her face is puffy, her
pallor blotchy. There are lines under her eyes and around her
mouth, lines brought on by more than the passage of a few
years.
Eddie tries to conceal his shock.
(CONTINUED)
67.
CONTINUED:
EDDIE (CONT'D)
You... how are you doing?
Melissa responds with a cynical shrug. Then, she eyes him.
MELISSA
Don't tell me I look good, because
I know I don't. I didn't want you
to see me this way...
(BEAT)
You look good.
EDDIE
I guess I lost some weight...
MELISSA
Yeah, well, MDT'll do that to you.
They regard each other for minute, unsure of where to start.
Old emotions. New emotions. Shock. Dismay. Affection.
MELISSA (CONT'D)
I know you've been doing it. I just
read the Post. Eddie. Short-selling
stocks? Second-guessing the
markets? You? Come on.
Eddie doesn't know what to say.
EDDIE
Since when do you read the Post?
MELISSA
These days, the Post's about all I
can read.
EDDIE
Melissa, what do you mean?
MELISSA
I mean, I did it too. And I only
took nine or ten hits. Vernon
didn't tell you any of this, did
he?
EDDIE
No.
Melissa snorts as if to say, typical.
MELISSA
Well, when he told me about this
amazing new drug...
(MORE)
(CONTINUED)
68.
CONTINUED: (2)
MELISSA (CONT'D)
I was like, down the hatch. And it
was amazing. I read Brian Greene's
The Elegant Universe in 45 minutes
and understood it. My work rate
increased... just, insanely,
overnight. My boss started to hate
me -- they offered me his job. And
then I got scared.
EDDIE
Why?
MELISSA
I'm not stupid. I mean, nobody can
keep up that level of mental
activity and not crash. I stopped
taking it.
EDDIE
And...?
MELISSA
I got sick. Headaches, throwing
up... I went back to Vernon to see
if I maybe shouldn't take another
hit, or half a hit, and then he
told me about... about the people
who were dying. One guy didn't die,
but he's a vegetable, his mother
has to sponge him down every day...
(BEAT)
How much have you been taking,
Eddie?
A long beat as they look into each other's eyes.
EDDIE
A lot.
MELISSA
Well, maybe they've worked out the
bugs. Maybe... maybe this isn't the
same batch...
Eddie hates the look in her eyes. His hands are at his
temples.
MELISSA (CONT'D)
You're off it right now, aren't
you?
EDDIE
Yeah.
(CONTINUED)
69.
CONTINUED: (3)
MELISSA
Are you getting a headache?
EDDIE
Finish your story.
MELISSA
Well, I didn't take more. And I
didn't die. But after a while I
found I couldn't concentrate on
anything for longer than ten
minutes. I missed deadlines. I got
lazy... and slow... put on
weight... the magazine let me go.
My husband checked out. Sex? Get
out of here.
She leans back, looks him in the eyes.
MELISSA (CONT'D)
That was two years ago, and I
haven't been the same since. I
can't read any more -- I mean, the
fucking New York Post?
Eddie feels ill, physically ill, hearing this.
MELISSA (CONT'D)
After this, I'm going to have a
migraine for three days. And I've
got to pee. Which is another thing.
She gets up... goes to the Ladies room. And now Eddie sees --
she wears a LEG BRACE. Like a kid, from the old days, with
Polio.
EDDIE (V.0.)
How many times had I thought of
her, my first real love...
We see FLASHES OF YOUNG MELISSA...
EDDIE (V.0.) (CONT'D)
But that Melissa had unraveled in
time and space -- she was a ghost
now. I was never going to see her
again, never bump into her in the
street...
The tears gather behind Eddie's eyes. He can't help it. He
puts his hand to his face to hide his emotions.
70.
EXT. COFFEE SHOP - DAY
Eddie leaves with Melissa. He is controlling his tears --
barely.
MELISSA
You have some left? Good. Go home
and take it. Take the dose down,
but don't just stop -- you'll die
if you just stop. Try to taper off.
Otherwise, the headache's just the
beginning... I have to go--
Eddie, indeed, is rubbing his temples.
EDDIE
But when I run out--
MELISSA
I don't know. I have to go--
Eddie catches her arm.
EDDIE
Who invented MDT?
MELISSA
I don't know--
(BEAT)
Goodbye, Eddie.
He lets go of her arm. A puffy, crippled woman about to cry.
She turns her back and moves away from him, stiffly, limping,
without looking back.
EXT. EDDIE'S POV - HIS APARTMENT BUILDING - DAY
EDDIE (V.O.)
No one seemed to be watching my
apartment, maybe I could chance it.
ON EDDIE
He glances around - the coast is clear - and sets off across
the street. He looks weak, ill - his breathing labored. He
stumbles - catches himself
EDDIE (V.O.) (CONT'D)
I was getting sicker by the moment.
Luckily I had one pill on me...
He pulls it from his pocket.
(CONTINUED)
71.
CONTINUED:
WHAM! He's pushed up against the wall of his building. Not
by Tan Coat.
By GENNADY THE RUSSIAN.
GENNADY
You fucking forget about me? Huh?
Eddie is stunned -- Gennady whacked his head against the
building pretty hard. He still clutches the MDT tablet tight
in his fist.
EDDIE
I... I... ahh...
GENNADY
One o'clock? And you not here?!
Eddie tries to catch his breath.
EDDIE
I'm here now!
INT. EDDIE'S LIVING ROOM - ON THE DOOR
They come into his apartment, Eddie using all his energy to
stay upright.
EDDIE
I'll get you a check.
Gennady turns to ice.
GENNADY
A check? A check?! You out of your
fucking mind?! What you think we
are, some financial institution?
Eddie realizes his brain isn't working --of course Gennady
can't take a check.
EDDIE
Gennady, look-
GENNADY
I cut your balls off!
EDDIE
I wasn't thinking. Look, we just
need to go to my bank- OOF!
Gennady has punched him in the stomach. Harder than he's ever
been punched. Eddie gasps for breath... holds his fist to his
body, protecting the pill. Gennady notices.
(CONTINUED)
72.
CONTINUED:
GENNADY
What you got there?
EDDIE
NOTHING--
Gennady grabs Eddie's wrist and wrenches his hand open.
EDDIE (CONT'D)
It's aspirin.
Gennady snatches the pill away from him. Examines it.
GENNADY
Don't look like no aspirin I ever
see!
His voice drips with crude contempt.
GENNADY (CONT'D)
What is it? Something good, eh?
In one swift motion, Gennady pops it in his mouth and
swallows it!
Eddie is mute with shock.
INT. A BANK - CLOSE ON
Eddie's shaking hands are handing Gennady a thick envelope.
EDDIE
That's the whole thing, plus
twenty.
He looks desperately ill. He can barely stand. Gennady,
meanwhile, is coming on to MDT.
GENNADY
I feel good. What in that shit?
EDDIE
Aspirin and vitamins.
GENNADY
You fucking full of shit, Morgan. I
know you lie about the movie script
too.
He wants to hit Eddie again, but thinks the better of it with
all the bank cameras.
73.
THE MONITOR -
We see Gennady give the camera a gay little wave, then turn
and walk out.
EXT. THE STREET - DAY
Eddie lurches along the street, staggering like a drunk,
barely able to walk. People avoid him, veering away.
EDDIE (V.O.)
I had to get my stash.
INT. LINDY'S OFFICE - DAY
Lindy clearly has a mid-level executive job; her office is
better than a cubicle and she has a bit of a view. There is a
KNOCK. A FEMALE ASSISTANT appears in the door.
FEMALE ASSISTANT
Lindy...? I wouldn't have let him
in, but I know you know him...
EDDIE appears in the door, looking deathly ill.
LINDY
It's all right, Lisa.
The girl goes. Lindy, sensing something dire, leaps up and
closes the door.
Eddie immediately collapses on the floor. Lindy kneels down
to help him - competent, trying to stay calm.
LINDY (CONT'D)
Eddie-- What is it--?
EDDIE
I'm sorry -- I'm sick. I wasn't
going to make it home-
LINDY
Okay. Okay, I'll get you to a
DOCTOR--
EDDIE
IT WON'T HELP--! I need to get--
it's very simple: I need my pills.
LINDY
What kind of pills?
(CONTINUED)
74.
CONTINUED:
EDDIE
They're... for my headaches...
LINDY
What headaches? What are you--?
(beat, realizing)
Are you on some drug?
EDDIE
It's... complicated.
LINDY
Oh. Oh. So all this energy of
yours, all this focus... has been
some drug, Eddie?
EDDIE
Not... the way you...
LINDY
You need a doctor.
EDDIE
No. That won't--
Eddie's PHONE rings. He and Lindy look at each other. He
answers it.
EDDIE (CONT'D)
Hello?
INT. VALERIE (HIS LANDLADY'S) APARTMENT - DAY
Valerie is on the phone. And we CROSS-CUT BETWEEN THEM:
VALERIE
What the hell are you doing up
there?
EDDIE
W-what?
There are, indeed, LOUD NOISES coming from above her.
VALERIE
Are you tearing up your floor or
something?!
Understanding in Eddie's pained eyes. He clicks off the
phone.
EDDIE (V.0.)
I knew what was going on.
75.
INT. EDDIE'S APARTMENT -A SERIES OF QUICK SHOTS -DAY
MALE HANDS are ripping the place to pieces. Pulling the
toilet from the wall. Cutting open the mattress. Taking apart
Eddie's computer.
INT. LINDY'S OFFICE - DAY
LINDY
...a smart drug...?
EDDIE
It was supposed to be legal.
LINDY
Oh, Eddie... you jerk.
EDDIE
I have a supply... stashed...
LINDY
(knows what's coming)
No.
EDDIE
I just need... to get it...
LINDY
And I'm supposed to just GO?! In
the middle of my work day?! To your
APARTMENT to get you more DRUGS?
INT. EDDIE'S APARTMENT - DAY
The MALE HANDS have found Eddie's hiding place. They LIFT the
old BROILER of the STOVE... ...and...
The MDT IS NOT THERE. The broiler is slammed down in anger.
INT. LINDY'S OFFICE - DAY
EDDIE
Not to my apartment. I moved it.
LINDY
You did--? Why?!
EDDIE
I was smart. I was on MDT.
LINDY
Then where did you keep it--?
(CONTINUED)
76.
CONTINUED:
He looks at her, guiltily.
LINDY (CONT'D)
Oh, you prick.
INT. LINDY'S LIVING ROOM - DAY
Lindy enters. Tense, panicked. She walks to a SQUARE END
TABLE, takes the lamp off it. The table is actually a box --
she lifts the lid. She reaches in... and pulls out the PACKET
OF MDT.
LINDY
You asshole... in my fucking
HOUSE?!
Furious, she stuffs it into her purse and goes for the door.
EXT. LINDY'S BUILDING - DAY
As she leaves, we see that we are in the POV of...
A MAN
across the street. He clicks open a CELL PHONE.
INT. LINDY'S OFFICE - DAY
There is a KNOCK on the DOOR. Lying on the floor, trying to
breathe, Eddie ignores it. His PHONE rings again. It takes a
lot of effort just to answer it.
EDDIE
Hi -- Have you got it?
And we CROSS-CUT BETWEEN:
INT. A MOVING CAB - DAY
Lindy is on the phone. Her voice is tense, terrified.
LINDY
Yes. --Eddie, there's someone
following me.
EDDIE
Are you sure?
LINDY
He got into the cab behind me, and
they're making every turn I'm
making!
(CONTINUED)
77.
CONTINUED:
EDDIE
Don't get out.
LINDY
What the fuck did you put me in the
middle of--?!
EDDIE
Call the cops.
LINDY
(PANICKING)
There's traffic. We're slowing
down...
(to the driver)
Go around him! Go around!
(TO EDDIE)
Shit! We're stopped dead.
(A GASP)
He's getting out, Eddie -- he's
walking over here-
Eddie, helpless on the floor, can do nothing.
EDDIE
LINDY--!!!
EXT. FIFTH AVENUE - DAY
Lindy bolts from the cab just as TAN COAT puts his hand on
the opposite door. She takes off into Central Park. And he's
after her like a shot.
EXT. CENTRAL PARK - DAY
Lindy veers off the path, through the trees, zig-zagging,
trying to find a place not to be seen.
TAN COAT
Zig-zags too, not far behind her.
LINDY
Begins to scream, desperate:
LINDY
Help! Help!!
Up ahead, miraculously, A COP ON HORSEBACK. He steps the
horse toward her. She races over and presses her body against
the side of the horse.
(CONTINUED)
78.
CONTINUED:
She's so panicked and out of breath she can barely speak.
LINDY (CONT'D)
There's... a... man... chasing me.
He has a long, tan --
The cop seems to be paying attention, then suddenly GRUNTS
and TWITCHES, his eyes flutter, glaze... and HE TOPPLES OFF
HIS HORSE to the ground... ...revealing TAN COAT, on the
other side of the horse. The BLADE in his hand is bloody.
LINDY runs.... tries to lose herself in a WEDDING PARTY...
comes to a section of huge, decorative BOULDERS and ROCKS.
Dives behind one of them.
Ahead, she can see the outdoor ICE SKATERS, couples,
families, enjoying the ice. It seems surreal. Several yards
behind her is TAN COAT, looking behind every tree, every
trash bin. Lindy picks up the phone, keeping her voice low,
although she's hyperventilating.
LINDY (CONT'D)
Are you still there?
And we CROSS-CUT BETWEEN:
INT. LINDY'S OFFICE - DAY
EDDIE
Yes. What's happening?
LINDY
I'm hiding, but I'm stuck. He'll
find me!
EDDIE
Just be still, stop talking.
LINDY
He killed a cop--
EDDIE
What?
LINDY
He's going to kill me, Eddie!
EDDIE
Listen to me. Can he see you?
LINDY
(CRYING)
You fucking asshole--
(CONTINUED)
79.
CONTINUED:
EDDIE
Can he see you?!
LINDY
Not yet. --I don't know what to do!
What do I do--!
EDDIE
There is something.
LINDY
What?!
EDDIE
Listen to me. Reach into the bag
and take one of the pills.
LINDY
S-swallow one of those things?!
EDDIE
Yes.
Tan Coat is getting closer.
EDDIE (CONT'D)
You will know what do to, Lindy.
Take one, and you'll know.
LINDY
He's got a knife -- I can't think
my way out of a knife--!
EDDIE
You'll come on in thirty seconds.
And yes, you will think your way
out, that's what it does. Are you
taking it--?
She swallows the pill.
LINDY
(A BEAT)
Yes. He's getting closer.
EDDIE
Lindy. I love you.
(A BEAT)
--Lindy? Are you there?
A beat. We PUSH IN on Lindy's eyes. Which are changing.
Growing more steely. Determined.
(CONTINUED)
80.
CONTINUED: (2)
LINDY
Eddie...? I feel it.
She hangs up. Eddie is left looking at the phone.
EXT. CENTRAL PARK - DAY
Tan Coat is perhaps five yards behind Lindy and getting
closer. But she's not crying any more. She's looking at-THE
ICE SKATING RINK, and the skaters, whirling across the ice.
LINDY'S
eyes flash. She knows what to do. Suddenly, she BOLTS from
her hiding place behind the rock, tearing down the hill as
fast as she can. Tan Coat is behind her like a shot.
EXT. THE ICE SKATING RINK - DAY
Lindy races down the hill, pushing past the line of people,
and onto the ice... Tan Coat is clearly desperate --he
doesn't give a shit who sees him chasing her.
In a flash, he's on the ice after Lindy, running and sliding.
People collide with him, he pushes skaters aside, sending
them sprawling... Just as he's closing in on Lindy...
Lindy wheels around, grabs a SIX YEAR OLD GIRL under the
arms, and HOISTS HER INTO THE AIR, swinging her legs at Tan
Coat as hard she can! The little girl's skates arc through
the air --whoosh! -and connect, CUTTING Tan Coat's FACE.
Badly.
He sinks to his knees, hand to his cheek, welling blood.
People scream and scatter. Lindy keeps her wits about her.
She runs, sliding across the ice, and leaping the fence, with
surprising grace. She's gone.
INT. LINDY'S OFFICE - DAY - ON EDDIE'S HAND - CLOSE
as an MDT pill is put into it. A WIDER SHOT shows Eddie
swallowing it with a glass of water.
LINDY
sits across the room, looking at him, her expression cool and
composed.
They look at each other, a look of understanding.
81.
INT. W HOTEL - LOBBY - DAY
Eddie finishes checking in, Lindy beside him. He seems
completely restored to his sharp, snappy self. The desk clerk
gives him a key. He puts his arm around her, leads her to the
elevators.
INT. W HOTEL - ROOM - NIGHT
Eddie takes Lindy's hands, sits her on the bed.
EDDIE
We'll stay here for a couple of
days. We'll be powered up, we'll be
able to think our way out of
this...
He kisses her hands. Looks into her eyes.
EDDIE (CONT'D)
I'm back. All right?
Lindy looks at him for a long moment.
LINDY
Who's back, Eddie?
EDDIE
I can take care of you now.
LINDY
That was never what I wanted.
EDDIE
A lot's going to happen for us. And
everything that I will have... I
will share with you. I will love
you.
Lindy's head comes up. She looks at him, steely.
LINDY
You know... you were always smart.
You could have done this. Not
this... but some of these things...
maybe a third of these things...
without any smart drug at all. A
third of all this... to most
people...? ...would be plenty.
She gets up, turns away from him.
(CONTINUED)
82.
CONTINUED:
LINDY (CONT'D)
I understand that stuff now, Eddie.
And I don't blame you for taking
it. No one could ever tell you,
till you take it, what it can do.
Invincibility in a bottle. And I
know I'm going to think about
taking it again every day for the
rest of my life.
There's eerie quiet to her tone that Eddie hasn't heard
before. A matter-of-fact chill.
LINDY (CONT'D)
But once you can see everything
that way, mapped out like that, on
a grid... and always be right...?
Who'd want to wing it? Who'd want
to fuck up? Who'd want to be human?
She heads for the door.
LINDY (CONT'D)
I just came up to say goodbye. I
don't ever want to see you again.
I'm not even going to stay in New
York. Don't try to find me, and
don't try to help me.
She goes. He knows there's no point in stopping her. She's
done with him.
EXT. W HOTEL - LATER
Eddie at the WINDOW, looking down...
EXT. EDDIE'S POV - THE STREET
He sees Lindy briskly walking away. RACK FOCUS as Lindy
passes... GENNADY. Leaning against a sign post. Lighting a
cigarette. And looking up at Eddie's hotel. Waiting.
EXT. W HOTEL - DAY
Gennady stands there, looking up at the hotel. So he's a
little surprised to find EDDIE walking right up to him.
EDDIE
Looking for me?
Gennady quickly gets aggressive:
(CONTINUED)
83.
CONTINUED:
GENNADY
You think you can run out on me?
You think I don't know where you
are?
EDDIE
I was under the impression that our
business was settled.
Something is jammed into Eddie's ribs. Something under
Gennady's coat. Eddie doesn't blink.
GENNADY
Walk.
Gennady walks him around the corner, down some stairs, to the
(deserted) ground entrance of someone's apartment. Eddie
remains cool.
EDDIE
So now you're going to rob me? I
thought you were a businessman.
GENNADY
I want some more of that shit.
EDDIE
What shit.
GENNADY
The pills.
He whacks Eddie, hard, across the face. Eddie, stoic, on MDT,
doesn't react.
EDDIE
Well, so do I. You took the last
one.
GENNADY
So you get me more.
EDDIE
I can't get more -- the dealer's
dead.
Now Gennady smiles.
GENNADY
Oh. Well. Too bad for you. Because
how you gonna go to those fancy
meetings with your nose fed to my
dog?
(CONTINUED)
84.
CONTINUED: (2)
Eddie doesn't like that Gennady knows anything about his
business life. But he stands his ground.
EDDIE
Nothing. I. Can. Do.
GENNADY
Make some calls. One hundred pills.
EDDIE
A hundred can't happen. The
dealer's dead, I have to call three
people to even get a line on--
The gun barrel is brought up beneath Eddie's chin.
GENNADY
You know I don't really do this. So
clean, like this. What I do to you,
I do in stages.
EDDIE
I might... be able to get ten.
GENNADY
Ten. Fuck your ten.
EDDIE
(holding his ground)
Ten. And no guarantee there's more.
Gennady looks at him for a long, menacing moment.
GENNADY
Oh, I think guarantee.
But he's accepted the ten. For now. He PUSHES Eddie against
the wall, hard, knocking the wind out of him.
EDDIE (V.0.)
Self-pity and MDT were not
compatible. One has to go on...
INT. HOTEL LOBBY - CLOSE ON - A SMALL ENVELOPE
being put into Gennady's hand. A wider shot reveals Eddie,
watching Gennady with contempt as he grabs a fistful of nuts
off a bar table as he goes. Pig.
EDDIE (V.0.)
...Patch up what's left...
85.
INT. CARL VAN LOON'S OFFICE - DAY
VAN LOON
I won't deny you pissed me off,
Eddie.
EDDIE
I was sick. I shouldn't have gone
to the meeting. I tried to cancel,
but Kevin imploded on me--
Van Loon looks at Eddie penetratingly.
VAN LOON
I didn't know who or what I was
talking to.
EDDIE
A hundred and five, is what you
were talking to, Carl. Delirium.
VAN LOON
Look, there can't be any
instability. Not when you're
playing at this level.
EDDIE
I sent over my revised projections--
VAN LOON
I didn't ask for your projections.
EDDIE
I know, but I think if you look at
THEM-
VAN LOON
I already have.
A long beat as the two men size each other up. Van Loon looks
away, but a tiny smile creases the corner of his mouth.
VAN LOON (CONT'D)
As a matter of fact, there were
firings over your projections.
EDDIE
I'm sorry.
VAN LOON
...some things my team missed. So,
oddly enough, I find myself...
needing to fill a position.
(CONTINUED)
86.
CONTINUED:
Eddie stays cool. He's in.
INT. VAN LOON CONFERENCE ROOM - DAY
EDDIE (V.0.)
Two months after I started MDT, I
was helping broker the most
important merger in corporate
history.
Eddie sits with Van Loon, Pierce, and several POWERFUL
LOOKING MEN, conferring. They look at an elaborate
chart/graph that Eddie is sketching... even Pierce, his
detractor, looks impressed.
INT. W HOTEL - NIGHT
Eddie is eating a luxurious room service dinner, going
through files and projections.
EDDIE (V.O.)
I found that if I maintained an
even dose... remembered to eat...
drank no alcohol... the blackouts
didn't recur.
Eddie shakes one MDT pill into his hand, downs it.
INT. LAYFAYETTE DAY TRADING - DAY
Eddie is back on the trading floor, a crowd around him.
EDDIE (V.0.)
I was quickly back up to speed...
INT. A MADISON AVENUE TAILOR'S SHOP - DAY
Eddie is being fitted for new suits.
EDDIE
Is it possible to construct an...
imperceptible compartment?
TAILOR
Certainly, sir. How large?
EDDIE
Quite large.
The Tailor nods, makes a note. He's certainly not going to
ask any questions.
(CONTINUED)
87.
CONTINUED:
EDDIE (CONT'D)
I would never again stash my MDT,
not in an apartment, not in Fort
Knox.
INT. A WINDOWLESS ROOM - DAY
Eddie, buzzing with charismatic authority, speaks to TWO
BEEFY MEN, who are professional muscle. (Note: one has very
elaborate tattoos on his fingers.)
EDDIE
I don't want it known that I have
any security. You won't precede me,
you'll follow me, never less than
ten steps behind... `inconspicuous'
doesn't begin to describe you.
You're not there. You're a CEO'S
wife -- you're wallpaper.
The men nod. They understand.
INT. EDDIE'S HOTEL BATHROOM - DAY
Eddie straightens his tie. Then opens his suit jacket,
reaches in, and pulls along a seam. An invisible POCKET
OPENS.
EDDIE (V.O.)
Safer though my stash now was, I
was not sitting around until it ran
out.
INT. A LABORATORY - NIGHT
The place is state of the art, but it's an after-hours,
furtive meeting Eddie is having with a TECHNICIAN, who passes
back a small PLASTIC ENVELOPE to Eddie. In it we see SEVERAL
TABLETS of MDT.
TECHNICIAN
Well, it's nothing you can cook up
on a stove top. Whoever made it,
it's a real pro act.
EDDIE
Can you make more?
TECHNICIAN
Can I combine these ingredients in
the same exact quantities? Yes.
(MORE)
(CONTINUED)
88.
CONTINUED:
TECHNICIAN (CONT'D)
But the exact method of delivery to
the brain...? Darts at a
dartboard.
EDDIE
Meaning...?
TECHNICIAN
Clinical trials. Guinea pig
people.
EDDIE
That's too long.
TECHNICIAN
It's what it is. Or you'll kill
people. You need twelve, eighteen
MONTHS--
Eddie tosses the envelope back at him, gets up.
EDDIE
Two million dollars if you do it in
six.
He holds up the packet. The guy considers. Then slowly
reaches for it, taking the MDT back.
INT . RESTAURANT - DAY
Eddie is having lunch with several POWER PLAYERS. They are
listening, mesmerized, to what Eddie is saying...
EDDIE (V.O.)
It was all going to work out...
His eyes flicker upwards. His two SECURITY MEN are seated at
the bar. The CAMERA PANS to find... Also seated at the bar,
is the DETECTIVE who questioned Eddie at the police station!
Eddie gets up, "casually" wanders over to where the detective
is sitting, pretends to order another drink. He does not make
eye contact with the detective, or look like he's talking to
him.
EDDIE (CONT'D)
I thought we straightened this out,
Detective.
DETECTIVE
This isn't about Vernon Gant, Mr.
Morgan.
(CONTINUED)
89.
CONTINUED:
Fear begins to prick the back of Eddie's neck. But he strives
for casual annoyance.
EDDIE
What is it about?
The DETECTIVE hands Eddie a magazine.
THE NEW YORK DAILY NEWS - CLOSE
It is turned to the middle, and there is a picture of Eddie,
candid, on the trading floor. That fucking article!
DETECTIVE
A witness identified the Donatella
Alvarez suspect as this person. You
want to tell me about your
whereabouts on the night of June
12?
Eddie keeps his cool, does not look scared. Wanders back to
the table, says a few cool words, and strolls back to the
detective. The detective gets up. Shall we go?
EDDIE (V.0.)
Luckily, I could now afford Morris
Brandt, the best lawyer in New
York.
EXT. POLICE PRECINCT - DAY
Eddie walks down the steps, with a beautifully dressed shark
lawyer, MORRIS BRANDT, 50's.
EDDIE (V.0.)
Time was bought, and I was released
-- for now.
Eddie's two SECURITY GUYS, waiting, fall into step ten paces
behind him.
MORRIS BRANDT
You're lucky somebody wiped the
room. Weak circumstantial at best.
Just between us -- were you there?
EDDIE
I don't remember.
MORRIS BRANDT
(SHRUGS)
Busy life.
(CONTINUED)
90.
CONTINUED:
He's heard it all, and doesn't really care.
INT. CARL VAN LOON'S CONFERENCE ROOM - DAY
EDDIE (V.0.)
Carl Van Loon and Hank Atwood
remained unaware that soon, I would
be in a witness lineup as a
possible murderer.
Eddie is making a presentation to the Van Loon Associates --
and a skeptical-looking OLDER GUY -- HANK ATWOOD.
EDDIE (CONT'D)
...well, a unified front between
Van Loon and Atwood would be
lethally effective, and not a
moment too soon.. SyCorps, Andine
and others are jockeying for the
same industrial concessions in
Mexico that both our companies are
secretly sniffing out...
HANK ATWOOD
How do you know this?
EDDIE
Well, the governmental bribe
structure is, in itself, corrupt,
so of course information about its
inner workings, like anything, can
be bought. And there are other
barbarians waving cash at the
gates. I have a list here, in
descending order of threat...
Atwood rubs his temples, seemingly distracted. But then, he
looks at Eddie piercingly.
ATWOOD
Go on.
INT. VAN LOON'S OUTER OFFICE - DAY
The meeting has broken up. Atwood is leaving, surrounded by
minions. Van Loon leans into Eddie.
VAN LOON
Eddie...? What's your read.
EDDIE
It flew. Of course, he's not going
to tell you right now...
(CONTINUED)
91.
CONTINUED:
Van Loon notices -- Atwood is using a cane.
VAN LOON
Jesus. He seems frail.
EDDIE
Might be an act.
VAN LOON
Yeah, doesn't track. He's not even
60.
Atwood's gone. Van Loon looks at Eddie.
VAN LOON (CONT'D)
So, Eddie. What are you going to
do?
EDDIE
When this is over?
(SMILES)
I don't know. You haven't given me
the answer.
Van Loon eyes him. Eddie is only half kidding.
VAN LOON
You haven't asked the question.
EDDIE
All right. If all this comes
off... what's my take?
VAN LOON
You should have pre-negotiated.
EDDIE
I trust you.
VAN LOON
You shouldn't.
Eddie returns Van Loon's look coolly, implying that it really
might be in Van Loon's best interest to trust him.
EDDIE
Well, given the scale of my
contribution, it can't be anything
lese than forty. Let's say forty-
five.
VAN LOOK
Done. Forty five thousand dollars.
(CONTINUED)
92.
CONTINUED: (2)
Both he and Eddie start to laugh.
VAN LOON
Forty million's plenty, Eddie.
There's plenty more where this came
from.
He tries to read Eddie's smile which is removed, far away...
VAN LOOK
...But you're not going to continue
working for me, are you?
Eddie opens his mouth. Pauses.
VAN LOON
Don't lie. You're already bored.
Onto the next...?
Van Loon didn't get to where he is for nothing.
VAN LOON (CONT'D)
I would really love to know what,
after a forty million dollar
payout, is "next" to you. But
you're not going to tell me that,
either.
(SMILES)
And I'm not sure I want to know.
Might singe my ego.
He shakes Eddie's hand.
VAN LOON (CONT'D)
I'll open a line of credit for you.
Even a tough nut like you's going
to want a few toys.
INT. A HUGE, DELUXE EMPTY APARTMENT - (THE CELESTIAL) - DAY
Eddie is being shown the apartment by a thirty-something
female REALTOR. The apartment is still under construction --
brand new -- and enormous, with a wall of floor-to-ceiling
windows in the living room showing off spectacular views.
REALTOR
... three restaurants, health club,
of course, a private screening
room, wine cellar, walk-in
humidor... unparalleled, three-tier
security system...
Eddie looks out over the city, feeling a surge. Yes.
(CONTINUED)
93.
CONTINUED:
EDDIE
What is the asking price?
REALTOR
Twelve point five.
Eddie has to look away from her, biting his lip. He can't
show her any sign of sticker shock. The face he turns back to
her is composed, even blase. He shrugs -- no problem!
We see an almost sexual excitement dance in her eyes.
INT. EDDIE'S HOTEL ROOM - DAY
EDDIE (V.O.)
It was, as it turned out, a good
moment to move.
Eddie comes in. The room has been completely ripped to pieces
-- just like Eddie's apartment. Eddie just smiles. Because
there was nothing for anyone to find.
EXT. WASHINGTON SQUARE PARK - DAY
EDDIE (V.O.)
No one knew, or would ever know,
that I now carried the pills with
me at all times.
Eddie stands, waiting, his two security guys lurking 10 steps
behind. GENNADY appears, now with TWO RUSSIAN THUGS of his
own. This is new, and Eddie wasn't expecting it.
Gennady's security guys eye Eddie's security guys, and vice
versa. Gennady is wearing a suit and looks much more
sophisticated. Eddie hands Gennady a small envelope. Gennady
takes it. In his eyes is a penetrating intelligence.
EDDIE (V.0.) (CONT'D)
Right away, it was obvious he was
on MDT.
Gennady whips out a silver lighter and lights himself a
cigarette. His movements are elegant, refined.
GENNADY
Next week...? I require twenty
pills.
EDDIE
Next week? You can fuck yourself.
(BEAT)
Not that you'll feel anything.
(CONTINUED)
94.
CONTINUED:
Gennady's eyebrow goes up. Gennady's security guys reach into
their jackets. So do Eddie's guys. Gennady's eyes flick over
the situation, motion to his guys to keep still. Gennady
laughs, an unpleasant sound.
GENNADY
I don't think your Forbes 400 new
financial friends would appreciate
the details of your little dilemma
with the police?
Gennady turns with a flourish and walks off. Over his
shoulder, with smug confidence:
GENNADY (CONT'D)
Thursday. You have them here.
Gennady turns, walks to the curb, where a NEW BLACK TOWN CAR
is waiting for him and his boys.
EDDIE (V.0.)
Obviously, this could not go on.
But there is very little on this
earth that 45 million dollars can't
solve. And tomorrow at nine, Atwood
would sign the papers.
INT. VAN LOON'S OFFICE - DAY
Eddie, Van Loon and associates are all waiting in the
conference room. The clock on the wall reads 9:40. Van Loon
looks glum. A long silence.
PIERCE
Well, you want to call it?
ASSOCIATE #1
Cold feet.
VAN LOON
There was all last night to tell us
that.
Van Loon pushes the intercom.
VAN LOON (CONT'D)
No call?
SECRETARY'S VOICE
Not yet.
(CONTINUED)
95.
CONTINUED:
EDDIE
Okay, the decision could have
changed -- that makes sense -- but
the discourtesy doesn't.
(BEAT)
It's still on.
PIERCE
(SARCASTIC)
Oh, based on your graphs and
projections?
EDDIE
(CALMLY REPEATING)
I saw his eyes: it's on.
PIERCE
You know, remind me: who the fuck,
exactly, are YOU?! --I'm sorry,
Carl, I'm about at the end with
this unqualified, posturing little-
VAN LOON
Pull it back, Pierce.
PIERCE
Since when is this little pisher
the fucking Delphi Oracle?!
VAN LOON
PIERCE-
SECRETARY'S VOICE
(INTERRUPTING)
Mr. Van Loon, Mrs. Atwood is here.
Eddie and Van Loon look at each other. What? Van Loon nods at
Eddie; the two men get up. Pierce starts to get up too.
VAN LOON
Pierce, you can stay.
Pierce looks bitter -- chastened -- as Van Loon and Eddie go.
INT. CARL VAN LOON'S INNER OFFICE - DAY
Van Loon and Eddie enter, to find MRS. HANK ATWOOD, a well-
dressed, well-preserved and beautiful 50, standing at Van
Loon's desk.
MRS. ATWOOD
I wanted this to be as confidential
as possible.
(CONTINUED)
96.
CONTINUED:
Van Loon and Eddie can't imagine what's coming next.
MRS. ATWOOD (CONT'D)
My husband experienced some pain
and dizziness this morning. He's at
Lenox Hill, undergoing tests.
She speaks with great dignity, distraught, but tightly
controlled.
MRS. ATWOOD (CONT'D)
Obviously, it wouldn't be in our
best interests for this to be
reported by the press, as it might
put some of his interests at risk.
I just want you to know that we
have every intention of signing the
contract, and, as soon as he is
able, we will proceed.
EXT. VAN LOON'S BUILDING - DAY
Eddie and Van Loon flank Mrs. Atwood, walking her to her car.
EDDIE
I realize that this is a useless
platitude, but... if there's
anything we can do...
VAN LOON
Obviously we want to be as helpful
and respectful as possible.
MRS. ATWOOD
Thank you so much. I rely on your
discretion.
She shakes both of their hands. A driver has the door open
for her; she gets in, now out of earshot.
VAN LOON
(LOW)
You think there's a proxy?
EDDIE
Cagey fuck like him giving away
power of attorney?
Eddie shakes his head. The two men look at each other darkly.
The driver closes her door, turns -- and now Eddie can see
his face. It's TAN COAT.
(CONTINUED)
97.
CONTINUED:
With a huge, angry scar slashed across his cheek. Eddie and
Tan Coat look at each other. A steely moment of recognition.
Tan Coat turns away, gets in the driver's side. Van Loon
watches the car pull away.
VAN LOON
Well. He'd better get better.
We PUSH IN on Eddie's face. Who now knows.
EDDIE (V.0.)
But Atwood wouldn't get better.
Because Atwood was out of MDT.
EXT. MIDTOWN STREET - DAY
Eddie, beautifully dressed, walks. Ten paces behind walk his
SECURITY GUYS. He is thinking.
EDDIE (V.0.)
Well. Why be surprised? How many
other meteoric rises might be
explained by MDT? At least I had
some; my life wasn't in jeopardy.
Only my money...
INT. POLICE STATION - DAY - CORRIDOR
EDDIE (V.0.)
...and my liberty.
Eddie stands with his favorite POLICE DETECTIVE and his
lawyer in an anteroom leading to an institutional door. His
lawyer talks to him, low.
MORRIS BRANDT
I've been all over them... we can't
allow any disparity in race or
physical type between you and the
rest of the lineup -- they're as
close to your clones as I could
possibly get away with -- it's
going to be one big handsome blur
to this guy-
A FEMALE COP approaches Eddie.
FEMALE COP
Mr. Morgan...? I need you to change
your jacket.
(CONTINUED)
98.
CONTINUED:
Eddie stiffens.
EDDIE
Why?
MORRIS BRANDT
Oh, that's me... I want everyone in
the same shirt, better for the blur
factor...
A beat.
EDDIE
Of course.
Another beat of hesitation... then Eddie hands Brandt his
jacket, takes off his shirt, puts on the blue shirt... and
stoically follows the female cop through the grubby door.
INT. THE LINEUP - EDDIE'S FACE
FEMALE COP'S VOICE
Please turn to the right. Eddie and four other dark-haired
guys turn to the right. Eddie looks at the black one-way
window.
EDDIE (V.0.)
Who was out there? The woman's
husband? Was some bellboy I
undertipped about to end my life?
INT. POLICE STATION - ON EDDIE'S SMILING LAWYER
MORRIS BRANDT
Not the dimmest clue. He was
dithering.
Eddie blinks at him.
MORRIS BRANDT (CONT'D)
"Maybe the third from the right...
No not him..." --Oh. Here you go.
He hands Eddie back his jacket.
MORRIS BRANDT (CONT'D)
(re: the jacket)
Thing of beauty. You had it made?
Eddie just nods, his eyes steely. The lawyer feels the molten
stare and hands the jacket back.
99.
EXT. POLICE STATION - DUSK
EDDIE (V.0.)
They'd kept me all day.
Eddie rushes down the steps, two at a time, looks at his
watch.
EDDIE (V.0.) (CONT'D)
I'd missed my meeting with Gennady.
INT. WASHINGTON SQUARE PARK - DUSK
Gennady, wearing a gorgeous cashmere coat, waits, now with
THREE SECURITY GUYS.
Gennady looks at his watch, then says something low and
sinister in Russian to his associates.
EDDIE (V.O.)
But I had more important
business...
INT. VAN LOON'S OFFICE - DUSK
Eddie hurries into the room. Van Loon doesn't look up. He's
watching a monitor, which has a live news feed to a financial
channel.
FEMALE NEWSCASTER
...And the Dow has been yo-yoing
all day, amidst speculation that
Van Loon Associates and Hank Atwood
have negotiated a merger...
Van Loon turns to Eddie, furious, agitated.
VAN LOON
Have you been talking to anyone?
EDDIE
Not a word, Carl.
VAN LOON
Where have you been, Eddie--? This
is the second time you've turned to
VAPOR--
(CONTINUED)
100.
CONTINUED:
EDDIE
Personal time, Carl. Phone off.
You're not telling me there's been
any movement.
VAN LOON
No. Atwood's in a coma.
EDDIE
A coma?
Black looks between them as the newscaster continues.
EDDIE (V.0.) (CONT'D)
It had gotten out, somehow. But I
felt thick, stupid, tired. A small
pain was starting behind my eyes.
I'd been unable to take my MDT, and
I was overdue.
He shoots Van Loon a glance. Van Loon is miserably fixated on
the TV.
INT. VAN LOON'S HUGE, SLEEK BATHROOM - DUSK
Eddie stands in a stall. Reaches into the lining of his coat.
Unfastens the opening of the compartment.
CLOSE ON THE OPENING
There is nothing inside.
EDDIE,
panicked, feels again. Nothing. The MDT is simply not
there!!! He begins to hyperventilate. Spin in place. Push
against the stall walls, trying not to scream.
EDDIE (V.0.)
Was it Brandt? Or someone else? The
police station? A coat room? How?
How?
He bursts from the stall, alone in the bathroom. Stares at
himself, terrified, in the mirror.
EDDIE (V.0.) (CONT'D)
In an hour I'd be useless. In two
I'd be sick. In 24, dead.
101.
INT. VAN LOON'S OFFICE - NIGHT
Eddie bursts from the bathroom. Trying not to look too wild-
eyed.
VAN LOON
Eddie--? This came for you.
Eddie looks at a LARGE BOX on Van Loon's desk. Indeed, his
name is on it. Eddie, mystified, approaches it. As Van Loon
continues to stare at the TV, disinterested in the box, Eddie
gingerly opens it.
INT. THE BOX - CLOSE
Inside are the SEVERED HANDS OF EDDIE'S SECURITY GUYS. (One
black hand, one with the distinctive tattoos.) Gennady.
Clearly these guys are dead. Eddie grabs the box and starts
from the room.
VAN LOON
What are you doing, Eddie--?
EDDIE--!!!
But Eddie's gone.
INT. VAN LOON ASSOCIATES - DUSK
People are leaving for the night. Eddie shoves past them,
still holding the damning box, frightened, jacked up,
desperate, shoving people out of the way to get to the
elevators.
INT. A LIMO - NIGHT - MOVING
Eddie sits in the back seat, the box freakishly sitting
beside him.
EDDIE (V.O.)
I couldn't think.
ON EDDIE'S FACE
His brow is beaded with sweat.
EDDIE (V.O.)
Only MDT could help me. I had no
MDT. And then...
PUSH IN on Eddie's eyes.
(CONTINUED)
102.
CONTINUED:
EDDIE (V.0.) (CONT'D)
One thought.
(BEAT)
Was there anywhere...
We begin to REWIND... in Eddie's mind... through many IMAGES
we've seen in this movie... stopping briefly at all the
places Eddie has stashed his MDT.
EDDIE (V.0.) (CONT'D)
... anywhere at all...I could have
left one pill...?
We STOP at the END TABLE in Lindy's apartment, peer inside.
Empty. We STOP at the UNDERSIDE of the GRILL on Eddie's old
stove. Nothing. We continue to REWIND -- but every image we
stop on reveals... nothing.
EDDIE (V.O.) (CONT'D)
I had to keep thinking. Somewhere
safe...
INT. THE CELESTIAL - EDDIE'S LIVING ROOM - NIGHT
Eddie sits at his huge new steel dining table, the evil box
on the table in front of him, head in his hands.
(The room is filled with labeled boxes he has never had a
chance to unpack.) The TV is on in the background. It's a
financial channel. We see MRS. HANK ATWOOD is giving a
statement.
MRS. HANK ATWOOD
There is absolutely no truth to the
rumor of this merger. None
whatsoever. My husband is having
some tests, this is a difficult
time, and I would appreciate your
directing further questions to our
attorney...
She motions at the gentleman next to her. --Who is also
Eddie's attorney, MORRIS BRANDT. The one who was so helpful
with the police. The one who held his jacket.
Bitter amusement in Eddie's eyes. At least he knows. The
APARTMENT BUZZER buzzes. Eddie freezes. Looks at the door. It
BUZZES again.
EDDIE (V.0.)
It wasn't downstairs security,
alerting me to a visitor.
(MORE)
(CONTINUED)
103.
CONTINUED:
EDDIE (V.0.) (CONT'D)
It was my inner door. Someone was
in the building, ten feet away,
right now.
Eddie walks to his phone, picks it up. Pushes the button,
puts it to his ear. It's dead.
He pushes the "on" button again and again. Nothing. The
buzzer BUZZES again. Eddie rushes to the door, opens the COAT
CLOSET. In the closet is a state-of-the-art SECURITY MONITOR.
Gennady and TWO MEN are outside his door! Suddenly the
MONITOR goes BLACK. Eddie flicks the switch on the monitor.
Nothing. Eddie flicks the switch again. It's dead. Someone,
somewhere, has figured out how to disarm it.
The buzzer BUZZES again. Eddie backs away from the door. We
HEAR Eddie's shallow, panicked breathing. He lunges for his
briefcase, pulls out his CELL PHONE.
THE CELL PHONE - CLOSE
It reads "No Signal." BAM! The first slam on the door begins.
BAM! The second. The door holds, but Eddie begins to back
away in horror.
BAM!
We slowly FADE TO BLACK. And FADE IN ON:
EXT. THE CELESTIAL - EDDIE'S TERRACE LEDGE - NIGHT
EDDIE (V.O.)
And so... here I am.
And now we pick up Eddie where we left him, standing on the
ledge.
EDDIE (V.0.) (CONT'D)
I knew they would kill me, slowly
and horribly. But this choice would
at least be mine.
We now hear the ZZZZZZZZ! of some major power tool drilling
at the door, punctuated by more BAMS! -- one way or another
they're going to get in. Eddie takes a breath, tries to jump.
He can't.
EDDIE (V.0.) (CONT'D)
But we're instinctive creatures. We
want to live.
(MORE)
(CONTINUED)
104.
CONTINUED:
EDDIE (V.0.) (CONT'D)
So, my foggy brain tried to
remember... where one tablet of
MDT... might be.
We PUSH IN on Eddie's eyes... We are still REWINDING in
Eddie's mind... images of where we've seen him keep MDT...
nothing... nothing... nothing... We STOP at the SUGARBOWL on
Eddie's dining table. Then go forward --no, wait!-rewinding,
stopping again on the SUGAR BOWL. Pushing in on the sugar
bowl.
Eddie spins around, looks back into his apartment, eyes
intense.
EDDIE (V.O.) (CONT'D)
It was possible. And possible was
enough.
INT. THE CELESTIAL - EDDIE'S LIVING ROOM - NIGHT
Eddie is tearing through boxes as the POUNDING and DRILLING
become deafening... he rips open a box labeled "Kitchen" -
it's full of BOOKS. Mis-labeled. JUMP CUTS as he rips open
other boxes... his hands frantically scattering CDs, cutlery,
cans of food... The door begins to give. Under the deafening
DRILL:
MORE JUMP-CUTS as Eddie hysterically tears the packing paper
off of promisingly- shaped objects. --No. A glass. --No. A
vase. --YES! The sugar bowl. With sugar still inside! Eddie
rummages, frantically, among the sugar cubes as the door
gives a few inches, groaning, and we glimpse blurred faces on
the other side...
EDDIE'S HAND
pokes, wildly, among the cubes... pushing them aside,
revealing at the bottom of the bowl-
ONE MDT TABLET looks back up at him.
Yes. It's really there! Eddie grabs it, just as, with a
splintering CRASH! -- The door goes down.
Eddie steps back, brings the pill up to his mouth... But as
he steps, he TRIPS on a SOUP CAN he's scattered... he FALLS
backwards... his HAND hits the side of the coffee table...
(CONTINUED)
105.
CONTINUED:
The MDT TABLET goes flying... (slow motion)... as... ...also
in slow motion, Gennady and his two thugs smile as they
advance into the room... THE MDT TABLET... flies... flies...
towards a GRATE in the floor -- a heating vent -- and HITS
it... rolling... ... before disappearing forever down the
grate.
Eddie knows that's it. His life has ended. He sucks in his
last breath -- then, with a YELL, he rushes back for the
terrace... for his suicide leap...
Thug #1 is quicker. Gets to the door first. Eddie will not
have the luck to be able to jump. He's trapped between the
two Thugs.
GENNADY
I told you I want more. You don't
listen. Maybe you think I'm
joking...
He reaches into his coat pocket...
GENNADY (CONT'D)
But I'm down to this last one.
...and pulls out a syringe.
GENNADY (CONT'D)
See, I dissolve pill in solution.
You shoot it - goes straight into
blood and to brain. Works much
better.
He pulls the plastic sleeve off the needle. Jabs himself in
the arm and injects the cloudy liquid.
GENNADY (CONT'D)
Now. Where do you keep yours?
Eddie is backed to the wall. Nowhere to go.
EDDIE
I'm plum out.
Gennady just smiles -- that was an unfortunate choice. He
gives an order to the Thugs who grab their tools and
disappear deeper into the apartment. WE HEAR them starting to
tear things up. Gennady and Eddie are alone.
GENNADY
They will find it. Or I will make
you tell me. Which is quicker? We
see, huh?
(CONTINUED)
106.
CONTINUED: (2)
He clicks open a BLACK ATTACHE CASE. It is filled with
sinister-looking silver instruments, and knives.
INT. EDDIE'S STUDY - NIGHT
Thug #2 has found, behind a bureau, a SAFE. He calls
excitedly, in Russian, to the other room.
INT. EDDIE'S LIVING ROOM - NIGHT
Gennady calls back in Russian. Then picks up a particularly
delicate, yet sharp-looking KNIFE.
GENNADY
This is a waste of my time, you
know that? I am getting out of this
part of the business... starting
import-export company. Very
exciting stuff. A lot on my plate.
I need to learn to delegate...
Eddie is backed up against a table, which is covered with
stuff he's scattered, which includes a BUTCHER BLOCK with A
KNIFE in it... Gennady starts arranging his instruments.
GENNADY (CONT'D)
First, I will cut skin from you,
flay you... you stay alive nice
long time... then maybe we cut meat
from you, steaks... or maybe softer
parts... I get inspiration...
He looks up, smiles, to see the effect his words have on
Eddie.
ON EDDIE
Staring back at Gennady, hard, a fuck-you stare. We can't see
behind Eddie's back, but we can see the butcher block, and
the knife is gone.
GENNADY
senses something is not right. Looks at Eddie quizzically.
GENNADY (CONT'D)
WHAT--
Eddie brings the knife up as hard as he can, right into
Gennady's stomach. Gennady gasps in surprise, chokes,
writhes. Eddie drives the knife home, harder, grabbing
Gennady's other hand, which lashes at Eddie with the fillet
knife...
(CONTINUED)
107.
CONTINUED:
The men fall to the floor in a death-struggle. Eddie
exhausted, off MDT, but determined not to let go. Gennady
writhes, flails, but doesn't cry out... he's already choking
on blood. Eyes shocked, surprised. Eddie turns the fillet
knife back on Gennady, slashes at his other arm; blood
spurts. But it's not necessary. Gennady's eyes are glazing.
His gurgling gets quieter. He's quite dead.
Eddie lies alongside him, panting, arm grazed and welling
blood from where Gennady's filleting knife slashed him,
suddenly weak and exhausted.
From the other room comes the BRRRRRRR! sound of the drill --
the boys, oblivious, are hard at work on the safe. Eddie
tries to get up, then falls back.
EDDIE (V.O.)
Not much of a triumph, was it?
He's got the shakes... no, more of a convulsion... he sinks
back to the floor...
EDDIE (V.0.) (CONT'D)
Because I would die here, too.
There is a break in the convulsion. Then another one starts.
EDDIE (V.0.) (CONT'D)
Only MDT could help me, and the
last of it was in this fuck's
bloodstream...
Gennady's BLOOD wells around Gennady's body in a crimson
puddle. A puddle that's creeping closer and closer to Eddie's
face, which is lying, convulsing, on the floor...
ON EDDIE'S EYES
between convulsions, suddenly looking. Looking at the blood.
It creeps closer to Eddie's face. Eddie is trying to move,
trying to push his face closer to the blood... he's there...
And now he turns his face down into the blood.
And begins to lap it up.
INT. EDDIE'S STUDY - DAY
The Thug finally gets the safe open. Inside is only one item -
-the TATTOOED SECURITY MAN's SEVERED HAND.
(CONTINUED)
108.
CONTINUED:
And its middle finger has been arranged in a vehement fuck-
you. The thugs are not amused.
INT. EDDIE'S APARTMENT - HALLWAY - NIGHT
The thugs are coming down the hall, muttering angrily...
INT. EDDIE'S LIVING ROOM - NIGHT
Mouth smeared with blood, Eddie is dragging himself by the
elbows, across the room. Footsteps coming. Fast.
INT. EDDIE'S LIVING ROOM - NIGHT - THUGS' POV
They burst into the room, see Gennady dead on the floor. The
camera WHIP-PANS around. No Eddie.
BEHIND THE COUCH
Eddie lies, panting. And then it hits. We PUSH IN on Eddie's
eyes. He feels it. His old friend. MDT.
THE THUGS
look up at a NOISE. Just in time to see Eddie bolting out the
front door of the apartment.
INT. CORRIDOR OUTSIDE EDDIE'S APARTMENT - DAY
They come thundering out -- see a flash of Eddie disappearing
INTO--
INT. THE OPEN DOOR OF THE APARTMENT NEXT DOOR - NIGHT
We are in jittery, handheld THUG'S POV shot as they burst
back in, barreling by rooms, looking in them, pressing on to
more rooms...
A MAN'S SHADOWY SHAPE AHEAD, IN THE KITCHEN -
Thug #2 BLASTS his GUN... the MAN crumples, the glass doors
behind him EXPLODE...... the MAN goes down...revealing Eddie
standing behind him --(he's been holding up his neighbor's
body) and, just as this registers -- WHACK! -- Eddie gives
THUG #1 a savage shot with a fireplace poker. Thug #1 goes
down, unconscious... the gun skitters across the floor...
THUG #2 dives, reaches for it. Eddie grabs a piece of the
shattered glass and, in a vicious swipe, brings it down on
the Thug's hand. But this guy is not a tough Russian
motherfucker for nothing. Bleeding profusely, he doesn't let
go of the gun... his bloody hand comes up, tries to aim...
(CONTINUED)
109.
CONTINUED:
Eddie DIVES BACKWARDS, through the broken glass door to the
patio. The thug stumbles after him...
EXT. EDDIE'S NEIGHBOR'S TERRACE - NIGHT
EDDIE'S HAND, still holding glass, CUTS the awning-rope
holding up the awning... The awning comes down on the thug, a
huge canvas curtain DROPPING between the Thug and Eddie.
BLAM! BLAM! Several holes appear in the canvas as the thug
tries to shoot Eddie anyway, but Eddie has leapt out of the
way.
THUG'S POV - UNDER THE CURTAIN
As he wrestles it off... he sees Eddie, on the ground, prone,
just watching him calmly. He starts to smirk. Eddie touches a
MATCH to the ground. The FLAME shoots across the floor to the
thug, who now realizes he's standing in a puddle, the
overturned can of BBQ fluid next to him. In an instant, his
LEGS AND PANTS are on fire. Now the man screams. Shoots
blindly. But - click! -- is out of bullets. He rushes at
Eddie, screaming, on fire, in animal rage. Eddie brings up a
wrought-iron patio chair to meet him, catching him squarely
in the ribs. He gasps, bends over... looks up at Eddie,
beaten...
The face that looks back is without pity.
EXT. THE CELESTIAL - 20 STORIES BELOW, A WIDER TERRACE - DAY
We are looking up at the penthouse. A SHAPE is dropping,
fast, towards us -- the shape of a man.
It's here! The man's head EXPLODES against the railing like a
pumpkin as the rest of him disappears down, out of sight.
EDDIE (V.0.)
Later, it would be noted that my
neighbor was in the music business.
One of his drug deals had obviously
gone bad...
(BEAT)
And the night was still young.
INT. A HOSPITAL ROOM - NIGHT
A MAN is on a gurney. A NURSE puts a sheet over his head.
Before our view of his face disappears we realize --it's Hank
Atwood. Dead.
110.
INT. HOSPITAL WAITING ROOM - NIGHT
Tan Coat is sitting, stoic and red-eyed in a chair. He senses
something. Slowly turns his head and looks.
EDDIE is sitting in the chair next to him. The two men look
at each other for a moment. Then:
EDDIE
I'm sure you're curious about
what's happened to your boss. I
certainly am. If my attorney was
really working for Mr. Atwood, to
save his life, then why is he dead?
At what point was the Pony Express
supposed to ride in with the life-
saving medication?
(A BEAT)
Or, did the Pony decide that he
should be running his own Pony
show? Minus the dog.
Tan Coat stares at him, his face without expression.
INT. A CONNECTICUT UPPERCLASS LIVING ROOM - NIGHT
AN UPPERCLASS HOUSEWIFE enters, in sweats, from the gym.
Immediately notices something is not right...
INT. THE HOUSEWIFE'S LIVING ROOM - NIGHT
The place has been ransacked.
INT. HER BEDROOM - NIGHT
She rushes in. We SEE her husband - MORRIS BRANDT - tied up
and gagged, struggling on the floor. Next to him, a smashed
PICTURE. It once covered a WALL SAFE which is now open. The
SAFE is empty.
EDDIE (V.O.)
I would not go back. I would not be
stopped.
FADE OUT.
TITLE: Eight months later
111.
INT. A POLITICAL CAMPAIGN OFFICE - DAY
Desks, employees, volunteers, ringing phones. REUBEN, LATE
20's, sharp, a JAMES CARVILLE-TYPE, sits on a desk with
casual authority, is on the phone.
REUBEN
...actually, no, there's no more
tickets. --Yeah, I know, an
overbooked fundraiser -- there's a
first -- well, here he comes, I'll
ask him -- Edward!!
We see Eddie striding down the corridor, wearing a sharp
suit, looking more dignified than we've ever seen him, more
adult. The snap and crackle of something new -- power -- is
in his step. TWO MALE AIDES flank him. Reuben approaches,
falls into step with them.
REUBEN (CONT'D)
I think we're looking at a second,
overflow event-- there's a wave of
donations coming in -- and I don't
think they're even going to try a
second debate -- don't go yet --
EDDIE
I have a lunch.
They have arrived at Eddie's office. Reuben nods at the
closed door.
REUBEN
John Steadman's in there.
EDDIE
Who's that?
REUBEN
--Eiben-Chemcorps? Look, they're
your biggest contributor, give him
his two shitty little minutes.
Eddie sighs, capitulating. Puts his hand on the door.
EDDIE
Eiben-Chemcorps. What are they --
research?
REUBEN
Pharmaceuticals.
Eddie shoots him a look.
112.
INT. A LARGE, CASUAL OFFICE - DAY
Eddie comes in to find JOHN STEADMAN, 50's, well-dressed and
gentlemanly, waiting.
STEADMAN
Mr. Morgan.
EDDIE
Nice to see you.
He shakes Steadman's hand, but Steadman doesn't get up. Odd.
In fact Steadman looks uncommonly relaxed, almost slouched in
his chair, looking up at Eddie with a subtle gleam in his eye
that Eddie doesn't recognize.
EDDIE (CONT'D)
We appreciate everything you've
done for us--
STEADMAN
Well, you've done most of it for
yourself. Senator Morgan.
He says this with a kind of casual, prescient authority. And
suddenly, we know he's right. Eddie will win.
STEADMAN (CONT'D)
I mean, everything from here's a
technicality, isn't it, Eddie?
Again, that smile. Eddie doesn't know what this guy is
about. And nobody calls him "Eddie" any more.
STEADMAN (CONT'D)
I think we both know where it's
heading...
(A BEAT)
If... you can maintain.
EDDIE
Maintain?
STEADMAN
Eventually you'll run out. I just
want you to know we're here to help
you.
Eddie blinks at him. Did he just say what Eddie thought he
said?
EDDIE
What are you saying?
(CONTINUED)
113.
CONTINUED:
STEADMAN
We've gotten most of the bugs out.
It's longer lasting - you'll only
have to take one a week.
Eddie is now dead silent. A long beat. Is it possible? Is
he really talking to someone who makes MDT?!
EDDIE
Have you been watching me from the
beginning?
STEADMAN
No. Those of you who indulged...
distinguished yourselves very
quickly. You made yourselves clear
to us.
EDDIE
Who's "us?"
Steadman just smiles, waves the question away.
STEADMAN
You went the furthest with it the
fastest, so of course, to us,
you're the most interesting.
EDDIE
How did it get on the street?
STEADMAN
Security breach. That was never
our intention. We took care of it.
Meaning, they took care of Vern.
STEADMAN (CONT'D)
It will never again be on the
street. It will never publicly
exist. Obviously I don't need to
detail the advantages for you.
A long beat. Eddie doesn't trust this guy -- not a bit.
EDDIE
And what about for you? Why don't
you take it?
STEADMAN
We don't have to. You'll take it
for us.
(CONTINUED)
114.
CONTINUED: (2)
EDDIE
And in return...? I do what.
STEADMAN
Just keep on doing what you're
doing. We won't bother you much at
first.
EDDIE
And later...? What will you be
"bothering" me with?
STEADMAN
Well, given where you're heading,
some of our ideas are... grandiose.
But, I think, achievable.
Eddie takes that in.
EDDIE
And if I don't like your ideas?
STEADMAN
Then we'll say Godspeed. And your
candle will have shed a brief, but
lovely, light.
Eddie knows now. They own his ass.
STEADMAN (CONT'D)
But let's not even go there. Right
now you should feel relieved, your
problems are over. We just want to
keep you healthy... and brilliant.
EDDIE
Luckily I can do that myself.
STEADMAN
Well, no, ah, that won't be the
case. We shut your lab down this
morning.
EDDIE
My lab?
Steadman nods.
EDDIE (CONT'D)
Which one?
Steadman doesn't blink.
(CONTINUED)
115.
CONTINUED: (3)
STEADMAN
All of them.
EDDIE
You sure?
Steadman suddenly chuckles -- not at all concerned by this.
Even amused.
STEADMAN
We were right about you Eddie -
you're gonna go all the way. Let's
not do anything to jeopardize that.
There's no downside here - we're
offering you a limitless supply
with fewer side effects. I think
you'll be pleased with the
arrangement.
(BEAT)
Come on, let's get some lunch. I'm
starving...
He heads for the door. Eddie remains still.
EDDIE
Tell me something.
Steadman stops, looks back at him.
EDDIE (CONT'D)
Did I kill that woman?
Steadman looks puzzled that Eddie would ask.
STEADMAN
Do you really want to know?
Eddie thinks. No, he doesn't.
EXT. CAMPAIGN HEADQUARTERS BUILDING - DAY
Eddie and Steadman exit, come down the steps, Eddie looking
thrown. He drifts along, half-a-step behind Steadman, deep
in thought.
STEADMAN
It's not so bad, is it?
Eddie doesn't answer.
(CONTINUED)
116.
CONTINUED:
STEADMAN (CONT'D)
Doesn't every man on the path to
greatness have to tolerate the wind-
drag of compromise?
A black LIMO waits at the curb.
STEADMAN (CONT'D)
Overall, we'll all be better off...
foreign policy, the courts, even
the Constitution could stand a
little tweaking...
They descend the last few steps. Steadman opens the limo
door for Eddie...
But Eddie hesitates. Doesn't get in.
STEADMAN (CONT'D)
Eddie?
EDDIE
After you.
STEADMAN
(CORDIAL)
No, "Senator". You first.
Eddie gestures for him to get in.
EDDIE
Please.
STEADMAN
All right then...
He gets in. And Eddie CLOSES THE DOOR AFTER HIM. Stands
outside the limo, looking back at Steadman through the rolled-
down window, his face a cold mask.
STEADMAN (CONT'D)
Oh, now. Don't underestimate us.
EDDIE
Don't underestimate your own
creation.
Steadman looks at him quizically.
EDDIE (CONT'D)
I mean, you invented it. What does
it do? It puts me 50 steps ahead
of you fucks.
(MORE)
(CONTINUED)
117.
CONTINUED: (2)
EDDIE (CONT'D)
You think I didn't spend my days on
MDT devising a personal defense
structure that would scare the shit
out of the Israelis--? You think
there's not people with a bead on
you right now, right in this
building? You think this
conversation is private?
STEADMAN
You don't know the caliber of
enemies you'll be making.
EDDIE
You want to push that button? I'll
show you my silos if you show me
yours.
STEADMAN
You'll run out. You'll die.
EDDIE
Or I'll think of something. Isn't
that what MDT does? Makes you
think of something? Might even
tell me how to get off it.
A flicker in Steadman's eyes. Anger.
EDDIE (CONT'D)
What if I just ask the drug... how
to tell the drug... how to fuck
itself? I mean, isn't it like the
8-ball?
Steadman raises his hand to the driver and the limo pulls
away.
EDDIE (CONT'D)
It always answers.
As the limo recedes into the distance, Eddie finally exhales.
And only then do we see it.
He's scared.
THE END
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