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      Written by

  Based on the book by

    May 1996 Draft


    FADE IN:

1   INT. WASHINGTON MUSEUM - DAY                                   1

    The saddest eyes you ever saw.

    We are looking at an El Greco drawing.       It is a study for
    one of his paintings.


    A bunch of art students are doing sketches of the eyes,
    the elongated fingers, the slender hands El Greco drew so

    Most of the students are around 20.        A couple of suburban
    housewives are there too.

    And one older man.

    This is LUTHER WHITNEY. Mid 60s, very fit, neatly
    dressed. At quick glance, he seems as if he might be a
    successful company executive.

    As we watch him draw we can tell he is capable of great
    concentration. And patient. With eyes that miss
    nothing: He has pilot's eyes.

    We'll find out more about him as time goes on, but this
    is all you really have to know: Luther Whitney is the
    hero of this piece. As we watch him draw --

    Luther's sketchbook. He is finishing his work on the
    eyes, and he's caught the sadness: It's good stuff.

    Luther. It's not good enough for him.        He looks at his
    work a moment, shakes his head.

                                GIRL STUDENT
               Don't give up.

               I never do.

                                GIRL STUDENT
               May I?

    She's indicated his sketchbook.      He nods.   She starts
    thumbing through.

    The sketchbook as the pages turn.

    Detail work. Eyes and hands. The eyes are good.         The
    hands are better. Very skillful.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         2.

1     CONTINUED:                                                    1

      The GIRL hands it back.    Impressed.

                                 GIRL STUDENT
                   You work with your hands, don't

      CLOSEUP - LUTHER                                                  *

      An enigmatic smile.    Now, from that --

2     EXT. RED'S BAR - DAY                                          2

      A nice working class part of town. Nothing fancy here
      but there's a pleasant feel. The streets are clean, the
      houses neat and well tended.

      Luther, carrying his sketchbook, walks along. It's
      afternoon now. Up ahead is a local bar: RED'S.

3     INT. RED'S BAR - DAY                                       3

      Luther walks in. Nothing fancy here. Strictly working
      class. And relatively empty. An overweight bald man
      Luther's age works behind the bar. This is RED. They
      are good enough friends not to ask each other questions.

                       (as they nod to
                         each other)

                       (as Luther hands
                        him a videotape)
                Your life would be a whole lot
                simpler if you could learn to
                operate a V.C.R.

                My only failing.

      As he turns --

4     EXT. NEIGHBORHOOD - LUTHER'S HOUSE - DAY                   4

      A street of   small row houses. Clean, well tended.
      Luther walks   toward one. Later in the afternoon. He
      carries half   a dozen small shopping bags, from the
      market, the   hardware store, the drug store, the cleaners.


5   EXT. LUTHER'S HOUSE - DAY                                    5

    A terra cotta planter to the right of the front door.
    Luther shifts his packages, tilts the planter slightly,
    bends down, pulls out a key, inserts it in the front

6   INT. LUTHER'S HOUSE - KITCHEN - DAY                          6

    as he enters. Neat, tidy. A Cuisinart, a cheese slicer,
    lots of other nice equipment. As he begins putting food
    away --

7   INT. LUTHER'S HOUSE - DINING AREA - NIGHT                    7

    Evening now. Table set for one. A single candle.
    Beside the candle is Luther's sketch pad. Now Luther
    himself moves INTO VIEW, carrying a tray. He puts it

    A gorgeous omelet is on a fine china plate, parsley
    sprinkled neatly on top. An elegant green salad is on
    another plate, covered with thinly sliced parmesan
    cheese. An expensive water pitcher, a lovely glass.
    Clearly, a great deal of thought has gone into dinner.

    Luther lights the single candle. We are now aware of a
    photograph nearby. The picture is old. A pretty little
    girl stands in the center, smiling. Her mother stands
    alongside, smiling too. A man is with them, looking at
    them happily. It's Luther. When he was young.

    Luther studies the photo a moment.    Then he turns, looks
    out the window.

8   POV SHOT - SLIVER OF MOON                                    8

    is visible.     Lovely.   Peaceful.

9   LUTHER                                                       9

    Now Luther opens the sketch pad, quickly flips past the
    hands and eyes and faces --

    -- we are looking at something totally different:   a

    HOLD ON Luther's drawing of the mansion.


    PULL BACK to reveal --


10   EXT. SULLIVAN MANSION - NIGHT                                  10

     In the moonlight -- it looks exactly like his drawing.

     But no drawing could convey the size of the place -- we
     are looking at ten thousand square feet. Wealth and

     We're in rolling hill country.     The mansion is dark.
     Totally deserted. Silence.

     Now a sound - TIRES ON GRAVEL. A car comes rolling INTO
     VIEW. The motor of the car has been turned off. The
     lights of the car have been turned off. The car slides
     to a stop. Again, silence...

     HOLD ON mansion, a couple of hundred yards away.     There
     is a small field between the car and the estate.     Now --


     A man holds binoculars, studying the place. He wears
     dark clothes, tennis shoes. He puts down the binoculars,
     begins to smear his face with black camouflage cream --

     -- it's Luther, and he's been a  professional thief his
     entire life. He's a three-time   loser, but his last
     sentence was so long ago and his  skills are now so vast,
     so refined, that it is unlikely  he will ever get caught

12   EXT. SULLIVAN MANSION - GROUNDS - NIGHT                        12

     The grounds as Luther glides through it.     He wears a

     The night is cool.

     He stops. All that separates him from the mansion now is
     a stretch of gorgeous lawn. Except for Luther, it isn't
     gorgeous -- it's no-man's land.

     One final check of his surroundings -- then he sets off,
     in graceful motion, long strides eating up the ground.
     He makes no sound at all.

13   EXT. SULLIVAN MANSION - FRONT DOOR - NIGHT                     13

     Thick wood with reinforced steel.

     Luther stops by the door, takes off his backpack, opens
     it. He puts on plastic gloves that have a special layer
     of padding at the fingertips and palms. Now he takes a
     key, inserts it in the front door, turns it, and the
     instant he pushes the door open -- ZOOM TO:


14   INT. SULLIVAN MANSION - FOYER - NIGHT                        14

     The infrared SECURITY DETECTOR -- it immediately starts
     to BEEP and you can see the seconds being counted down:
     forty, thirty-nine, thirty --

                                                CUT TO:

15   LUTHER                                                       15

     -- in his hands now is an automatic screwdriver, no more
     than six inches long --

     -- he sets to work on the security panel that is inside
     in the foyer next to the front door.

     The screwdriver undoes the first screw, the second --

                                                CUT TO:

16   SECURITY DETECTOR                                            16

     Thirty-one, thirty, twenty --

                                                CUT TO:

17   SCREWDRIVER                                                  17

     Now the third and fourth screws are in hands and he lifts
     the security panel away.

     The BEEPING sound is constant --

     -- and getting louder.

     A tiny device, no bigger than a pocket calculator. It
     has two wires protruding from it. It is, we are about to
     find out, a tiny computer. Luther holds it like a baby.

                                                CUT TO:

18   SECURITY DETECTOR                                            18

     Eighteen, seventeen --

                                                CUT TO:

19   LUTHER                                                       19

     probing with the wires into the heart of the security



19   CONTINUED:                                                 19

     The BEEPING is LOUDER still.

     The security panel. Luther is attempting delicate work
     and it's dark so it isn't easy but he continues to probe
     with the wires and --

                                                CUT TO:

20   SECURITY DETECTOR                                          20

     Eleven, ten --

                                                CUT TO:

21   LUTHER                                                     21

     and he's got it attached!

22   COMPUTER                                                   22

     Now the face of the tiny computer is alive with numbers
     -- they fly by much too fast for us to make them out

                                                CUT TO:

23   SECURITY DETECTOR                                          23

     Four, three, two --

                                                CUT TO:

24   FACE OF TINY COMPUTER                                      24

     as five numbers lock -- 7 -- 13 -- 19 -- 8 -- 11 --

     The BEEPING sound dies.

                                                CUT TO:

25   LUTHER                                                     25

     A glance across the foyer -- the lights of the security
     detector go from red to a warm looking green.




25    CONTINUED:                                                   25

      He allows himself to exhale. Then he's busy again,
      unhooking the computer. His fingers, as always, work
      quickly, precisely.

25A   INT. SULLIVAN MANSION - FOYER - NIGHT                        25A

      The foyer as Luther, once again carrying his backpack,
      moves across it. Behind him, the front door is again
      shut, the security panel back on, screws all in place.

      It's as if he hadn't been there at all...

26    INT. SULLIVAN MANSION - STAIRCASE - NIGHT                    26

      Luther walks quickly up -- and here we get a sense of the
      vast size of the place -- it feels bigger inside than it
      looked in the moonlight.

      A Van Gogh at the head of the stairs. Luther moves past
      it, then stops, goes back, studies the painting. It's a
      late one, when the madness had him and things were
      sliding away. Very sad.

      Luther looks at it admiringly for another moment --

      -- then surprisingly he raises his hand,  and for just an
      instant traces the lines of the painting  in the air, as
      if trying to figure out how the magic was  done, as if
      getting ready for his next museum session  --

      -- then almost grudgingly, he moves on, up toward the
      third floor.


      Here's a Hopper. One of the great ones, filled with an
      overpowering sense of being alone --

      -- Luther stares at it almost in awe, whispers "wow,"
      moves on.

28    INT. SULLIVAN MANSION - HALLWAY - NIGHT                      28

      Luther, walking down the third-floor corridor.

      The corridor walls. No paintings here -- instead we see
      a series of framed photographs. The first is of a baby
      girl, the next one of the same child at three.

      We watch the child grow up in these photos.    At ten she
      is already pretty. At fifteen a stunner.

)B(   ABSOLUTE POWER - Rev. 5/16/96                          8.

28    CONTINUED:                                                  28

      Not a classic beauty by any means, she is turning into,
      if you will a latter-day Ann-Margret. The kind of girl
      you ached for in high school. The perfect cheerleader.

      These are pictures, we will come to know, of Christy
      Sullivan. A high school graduation shot at eighteen, a
      shot in front of a Burger King at twenty.

      CLOSEUP - WEDDING PHOTOGRAPH                                     *

      Christy, looking just fabulous, is 24 and smiling
      happily. We can only see her face and the wedding veil
      here. Now --

      PULL BACK to reveal --

      A glorious and expensive white wedding dress.    Christy
      holds a bouquet of flowers. Breathtaking.


      And now we can see the groom. Walter Sullivan. Walter
      is smiling too, one arm proudly around his lovely bride.

      Walter, it might be noted, is eighty years old.

      Luther, staring at the photo, shakes his head.    Now he
      moves on.


      Luther opens the DOOR. It SQUEAKS. He goes inside,
      closes the door firmly. Next, he puts his backpack down,
      takes out a low-power non-glare work light, sets it up.
      Now he looks around. A huge room, a gigantic canopied

      A nightstand alongside, which contains a small silver
      clock, three Danielle Steel novels piled neatly one atop
      the other, several more photos of the happy couple --

      -- and an antique silver-plated letter opener with a
      thick leather handle.

      Luther. He studies himself in front of a very large
      full-length mirror across from the canopied bed.

      Now we realize something -- he isn't studying himself,
      he's studying the mirror itself.

      He turns, goes to the sitting area where there are chairs
      and a sofa and a large TV and VCR.



29   CONTINUED:                                                   29

     Three remotes on a side table. Luther carefully picks up
     the middle one, crosses the room with it, points it at
     the large mirror, clicks once --

     -- and the mirror swings silently open.

     A room is revealed. All we can see of it so far is this:
     There is an armchair in the middle facing where the
     mirror had been.

     Luther turns back toward the sitting area, the remote
     held in his hand.

     The side table. Luther puts the remote down -- very
     carefully. In the exact position it had been. Now he
     takes a moment, blows on his hands, rubs them together.

     Then -- Luther takes a collapsible duffel bag out of his
     backpack, moves with the work light into the revealed
     room --

30   INT. SULLIVAN MASTER BEDROOM - VAULT - NIGHT                 30

     It's a vault! And it's FULL! There's cash, naturally,
     piles of the stuff. Plus all kinds of other valuables
     we'll get around to.

     Luther's a little stunned -- it's more than he hoped for.

     He glances at the armchair -- there is a remote on it
     that is identical to the one he replaced at the side

     Now he opens his duffel all the way and sets to work.
     First the cash goes in -- all neatly bundled. Large
     denominations. Lots of bundles. Next are a series of
     slender boxes --

     The first box as Luther opens it.


     Into the duffel it goes.

     Luther, emptying more jewelry boxes into the duffel.    And
     still more. As he continues to do this --

31   INT. SULLIVAN MASTER BEDROOM - NIGHT                         31

     All is quiet. High on a wall, the security light beams a
     friendly green.

     Now, from somewhere, a distant sound.   LAUGHTER?   Was it
     laughter? Doesn't matter, it's gone.

)B(   ABSOLUTE POWER - Rev. 5/16/96                             10.

32    INT. SULLIVAN VAULT - NIGHT                                     32

      Luther has moved deeper into it -- he's finished with the
      jewelry. Now he's examining piles of bonds.

      Into the duffel they go.

      He takes a breath, glances around.    Perfect.

      Coins.   Antique ones.   They disappear into the duffel.

      Stamp books.   Gone into the swelling duffel.

      Luther as he hears now the DISTANT LAUGHTER.     Not so

33    INT. MASTER BEDROOM - NIGHT                                     33   *

      He moves quickly out of the vault, takes a step toward
      the door -- the GIGGLING is getting LOUDER, closer. Two
      people. A man and a woman.

      Luther stops, mutters "shit!" -- glances around -- No
      place to hide. Luther, grabbing his backpack, moves into
      the vault, turns off his work light, and shuts the door
      with the remote. The DOOR CLICKS --

34    INT. SULLIVAN VAULT - NIGHT                                     34

      -- Luther is alone in the darkness.

      A burst of LAUGHTER now.    Growing nearer still.

      Luther moves into the back of the vault, crouches down,
      doing his best to hide behind the armchair. Trapped,
      Luther waits in silence, trying not to breathe...

      Now he can hear a SQUEAK -- the BEDROOM DOOR has opened.


35    INT. SULLIVAN MASTER BEDROOM - NIGHT                            35

      Dark -- except for a slant of light from the hall outside
      the open bedroom door.

      Two people are briefly visible as they enter, a MAN and a
      WOMAN. The CLINK of GLASS. Stifled LAUGHTER.

      The Woman closes the bedroom door.

      Darkness again.

      And now the LAUGHING sound increases.    GIGGLING, really.


36   INT. SULLIVAN VAULT - NIGHT                                  36

     Luther in the pitch-black vault. The GIGGLING is MUTED
     but it is there. He is starting to perspire.

37   INT. SULLIVAN MASTER BEDROOM - NIGHT                         37

     The woman flicks on the lights and as she does --

38   INT. SULLIVAN VAULT - NIGHT                                  38

     Luther as the burst of light hits him like a fist -- and
     it's over.

     Luther blinks, confused, looks around --

     -- because it isn't over, he hasn't been caught.

     The door to the vault is suddenly gone. Luther is
     staring straight into the goddamn bedroom.

     Because the door is a two way mirror. Now it's as if he
     was watching the bedroom on a giant TV screen.

     Just a few feet away, just outside the door.

     Where things are clearly starting to heat up.

     Luther moves to the armchair, sits.    There is nothing to
     do now but wait. He settles in.

39   INT. SULLIVAN MASTER BEDROOM - NIGHT                         39

     They are staring at each other.

     We have seen the woman already -- she's CHRISTY SULLIVAN.
     But the pictures in the corridor did not do her justice.

     This is a fabulous-looking twenty-five-year-old woman.
     Long, golden hair, a round face that sets off her deep
     blue eyes, a tanned, curving body. A bare-shouldered
     black dress. An expensive necklace.

     One more thing:   she is staggering drunk.

     The man is ALAN RICHMOND, wealthy, successful, handsome
     and fit. Mid-forties. He wears an elegantly-cut suit.

     Two additional points: (1) Richmond is clearly not the
     husband in the wedding photo. (2) He is drunker than she



39   CONTINUED:                                                       39

     Richmond carries a vodka bottle and two tumblers.     He
     fills them, gives one to her.

     They touch glasses.    Down the hatch.   Tight laughter.

     He looks at her.

     She looks at him.    There's a lot of sexual tension in the

     But now he begins looking around, checking things out.
     She spots this.

                  It's okay -- I told him I was
                  sick -- anyway, he's gone --

     He nods then, more at ease.    And he blows her a kiss.

     She catches it -- and now she starts to parade for him.
     Her body moving very slowly.

     He pours himself another shot, chugs it, watches.     Now --

40   INT. SULLIVAN VAULT - NIGHT                                      40

     Luther suddenly terrified and we find out why.

41   INT. SULLIVAN MASTER BEDROOM - NIGHT                             41

     Christy, fumbling with her necklace, looks across the
     room --

     What she's looking at:     the side table with the remote
     that opens the vault.

42   INT. SULLIVAN VAULT - NIGHT                                      42

     Luther, frozen, as Christy starts toward the table.

43   INT. SULLIVAN MASTER BEDROOM - NIGHT                             43

     The table and the remote waiting there.

44   INT. SULLIVAN VAULT - NIGHT                                      44

     Luther, mouth dry...

)B(   ABSOLUTE POWER - Rev. 5/16/96                          13.

45    INT. SULLIVAN MASTER BEDROOM - NIGHT                         45

      Richmond, reaching out for her, then as she passes him;
      he takes her by the hand --

      -- and now they are dancing, their bodies pressed
      together. They move slowly. She hums. He tries to get
      fancy, spin her with one arm --

      -- no good. They're too drunk for it, starts to lose
      balance, separate.

      They giggle. Smile at each other. Now Christy manages
      to unhook her necklace, and as she starts to drop it in           *
      the drawer of the nightstand --                                   *

46    INT. SULLIVAN VAULT - NIGHT                                  46

      Luther.   A genuine sigh of relief --

      -- which suddenly dies --

47    INT. SULLIVAN MASTER BEDROOM - NIGHT                         47

      Christy, as she spins toward the table again, still with
      the necklace in her hand.

48    INT. SULLIVAN VAULT - NIGHT                                  48

      Luther, and there's nothing he can do now but watch.

49    INT. SULLIVAN MASTER BEDROOM - NIGHT                         49

      Richmond, watching too, emptying the vodka bottle into
      his tumbler, chugging it down and now...

      The table as Christy reaches out, grabs a remote, turns.

50    INT. SULLIVAN VAULT - NIGHT                                  50

      Luther dead in the water because --

51    CHRISTY'S                                                    51

      pointing the goddam thing at him --

      -- and as she CLICKS it --

)B(   ABSOLUTE POWER - Rev. 5/16/96                        14.

52    INT. SULLIVAN VAULT - NIGHT                                52

      Luther, and for a moment, he's like a goddam deer caught
      in the headlights --

      -- but now here comes another sigh of relief and we find
      out why.

53    INT. SULLIVAN MASTER BEDROOM - NIGHT                       53

      Suddenly there's ROMANTIC MUSIC PLAYING -- she's turned
      the STEREO ON. Christy starts humming, replaces the
      clicker, drops the necklace in the drawer.                      *

      Then they are into each other's arms. Their bodies
      press. Their bodies sway. He moves a hand to her
      breasts --

      -- Christy breaks loose, shakes a finger at him, as if to
      say, "naughty, naughty" --

      -- then with one hand, she pulls a zipper down. The
      dress falls off her body. Her breasts spring free. She
      is wearing only her panties now and high heels. And a

      She is stunning looking and she knows it and men have
      always gone nuts over her and she knows that too. And
      Richmond can't resist her either, goes to her, bends her
      back, caresses her neck, begins sucking her nipples.
      Christy moans.

54    INT. SULLIVAN VAULT - NIGHT                                54

      Luther, in the chair, embarrassed, averting his eyes.

      But the MOANING from the other room GROWS LOUDER, more

55    INT. SULLIVAN MASTER BEDROOM - NIGHT                       55

      Christy, pulling away for a moment, starting to work at
      Richmond's tie, shakes him out of his suit jacket,
      reaches for his belt, loosens it. She is working at his
      shirt buttons now and their breathing is audible and in a
      moment he is down to his boxer shorts and then her
      panties are off, her shoes kicked away and they are near
      the vault mirror now. As they approach it, they stare at

56    INT. SULLIVAN VAULT - NIGHT                                56

      Luther, moving farther back in his chair as their faces
      are just a couple of feet away --

)B(   ABSOLUTE POWER - Rev. 5/16/96                         15.


      as Richmond's hands move across her wondrous body and she
      is hot and drifting into drunken fantasy and her eyes
      close and --

      CLOSE ON RICHMOND                                                *

      as his eyes are open --

      -- the look on his drunken face is scary.

58    INT. SULLIVAN VAULT - NIGHT                                 58

      Luther, transfixed by that look, transfixed and worried.


      looking at each other now, and she is smiling happily and
      looking at him and he is smiling happily and looking at
      her, and whatever was on his face just before has gone.

60    INT. SULLIVAN VAULT - NIGHT                                 60

      Luther, watching as they turn for the gigantic canopied

61    INT. SULLIVAN MASTER BEDROOM - NIGHT                        61

      The bed as they stop alongside it and kiss -- it's their
      first. And her arms go around his neck and she holds him
      like that, her eyes shut tight --

62    INT. SULLIVAN VAULT - NIGHT                                 62

      Luther -- watching because Richmond's eyes are not shut,
      they are wide open and they stare at the mirror and the
      awful look from before is back, only worse, and then
      without warning, he grips her buttocks roughly --

      -- and slaps her hard on the ass, over and over and
      Christy is shocked, surprised, pulls away. Richmond
      smiles at her sweetly.

      Christy.   Shaking her head.

      Richmond. He continues to smile, makes a courtly
      gesture, kissing her fingertips in apology.



62   CONTINUED:                                                     62

     Christy. She smiles in acknowledgement and they move
     onto the bed. She pushes him down and straddles him.

     Richmond, from her POINT OF VIEW -- a wonderfully-
     handsome man.

     Christy, from his POINT OF VIEW. A glorious, vibrant
     young woman. She smiles, touches her lips to a finger,
     reaches out, touches the finger to his mouth.

     It's a sweet moment.

     They smile.

     Then he reaches up, and without a word, grabs her breasts
     and squeezes and twists them brutally and Christy is
     shocked and she tries to make him stop but he won't, and
     she cries out in pain but he still won't stop so she
     slaps him in the face. He slaps her back, viciously,
     right in the mouth and now there is blood mixing with her
     lipstick and she rolls off the bed onto the floor.

     Christy sits there stunned.

               You fucking bastard.

     And on that --

     Richmond, standing now, reaches down to help her up.
     Christy hesitates, finally takes his hand and as soon as
     she is on her feet --

     Christy, kicking him with all she has, in the stomach.

63   INT. SULLIVAN VAULT - NIGHT                                    63

     Luther, silently applauding.

64   INT. SULLIVAN MASTER BEDROOM - NIGHT                           64

     Richmond, the air momentarily out of him,  falling
     drunkenly to the floor, stunned for just  a moment and
     clearly in pain, but he is a big man and  he is strong and
     he grabs her ankle, yanks, and then both  are laboring on
     the floor and Christy kicks him again and  again --

     -- but he will not release her ankle.   Each kick only
     inflames his drunken rage.



64   CONTINUED:                                                      64

                         (very slurred --)
                  You little whore --

     And now they both try and stand.

     Neither one does it gracefully, neither one does it
     quickly, but Richmond gets there first and as soon as he
     is on his feet he begins to strangle her.

     Christy, gasping, terrified, she claws at his arms, her
     fingers scratching deeply --

     -- but he will not let go.

     She twists and jerks her body --

     -- no good -- he continues to tighten his grip on her
     throat --

     -- and spreads his legs for better balance.

     The bed table, as Christy, beyond desperation reaches
     around for something, anything -- her fingers finally
     close on the letter opener and in one wild stroke, she
     slashes his right arm.

     Now he lets go.    And stares, stunned, at his bleeding

     Then he crunches her flush in the   mouth, a brutal blow,
     and blood pours from her nose and   mouth and if she
     weren't so scared, maybe it would   have stopped her, but
     it doesn't -- because somehow she   manages to maintain
     balance --

     -- and knees him all she has, in the nuts.

     It's over -- Richmond falls to the floor, helpless.       He
     lies on his back, holding his crotch.

     But it isn't over. Christy, blood pouring down her face,
     stands over him, the letter opener still tight in her

     And in her eyes you can see it, the homicidal rage --

     -- and she drops to her knees beside him --

     -- and Richmond can only lie there, watching her --

     -- and she gets a better grip on the letter opener --

     -- and Richmond still only lies there, watching her --



64   CONTINUED:   (2)                                              64

     -- and she raises the letter opener slowly very high
     above her head, the point aimed at his heart --

     -- and Richmond screams one time --

     -- and as Christy starts to kill him, two well-dressed
     men in business suits burst through the bedroom doorway,
     GUNS in their hands, and they BLOW HER BRAINS OUT before
     the opener reaches Richmond's heart...

65   INT. SULLIVAN VAULT - NIGHT                                   65

     Luther, in SLOW MOTION and this is what he does --

     -- he reels back in the chair, eyes wide, jaw slack,
     mouth open --

     -- this is a man who has seen everything but nothing has
     prepared him for this --

     -- his arms flop over the arms of the chair, his body
     loses strength, he tries to look away, can't --

     -- and this is what he sees --

66   INT. SULLIVAN MASTER BEDROOM - NIGHT                          66

     Christy, fighting for another instant of life --

     -- no chance --

     -- the two bullets have shattered her brain, her eyes
     roll up into her head, the letter opener drops to the
     rug, she collapses like a rag doll --

     -- and blood is everywhere.

67   INT. SULLIVAN VAULT - NIGHT                                   67

     Luther. Back in regular motion now.    Pale, barely able
     to breathe.

68   INT. SULLIVAN MASTER BEDROOM - NIGHT                          68

     The two well-dressed men in business suits.

     BILL BURTON is the more formidable. Mid-40s, he looks
     like a retired tight end. No body fat. Intimidating.
     But right now he is shaking and he can't stop it. He
     puts his gun away, goes to Richmond.



68   CONTINUED:                                                   68

     TIM COLLIN is closing in on 30. Handsome. In wonderful
     shape. Burton is more physical, Collin more lethal. He
     puts his gun away, goes to Christy.

     Richmond is trying to sit. He is as drunk as before but
     now he is also close to shock. He reaches over, manages
     to pick up the bloody letter opener.

                  Kill her?

     Collin, by the body, nods.

                  No choice in the matter.

     His words are efficient but clearly, he has been rocked.

     Richmond, staring stupidly at the letter opener. He
     drops it back to the floor, tries to stand, can't.
     Burton helps him back to the bed. Which is when he
     passes out cold.

     Burton and Collin look at each other now.

                  Jesus, Tim, what did we do?

                         (echoing Burton)
                  No choice in the matter.

69   INT. SULLIVAN VAULT - NIGHT                                  69

     Luther, staring at it all. The shock is still there but
     so is something new: anger. And on that --

70   INT. SULLIVAN MASTER BEDROOM - NIGHT                         70

     GLORIA RUSSELL moving through the bedroom door.
     Russell's 40, well-dressed, attractive and very smart.
     Now she sees what's happened, stops dead.

     Now she moves forward, looks at Burton and Collin.    It's
     very clear from the outset: these three are not


)B(   ABSOLUTE POWER - Rev. 5/16/96                         20.

70    CONTINUED:                                                  70

                          (to Burton and Collin)
                   Do you realize what a shitstorm
                   we're in?
                   Go on -- tell me.

                   Nothing to tell. He screamed.

                   And you heard no sounds of
                   violence 'til then?

                   Nothing we haven't heard before.

      Richmond, on the bed, out. Russell studies his face as
      Burton moves toward the telephone.

                Maybe I should call the police

      CLOSEUP - RUSSELL                                                *

                Bill?     Why don't you think about
                       (beat -- starting to
                        move toward him)
                Take a second and just think about
                       (closing in on Burton,
                Think... real... fucking... hard.

      BURTON                                                           *

      He is strong enough to snap her neck with one hand.

                       (backing away)
                Probably not a good idea.

                       (taking charge)
                Okay -- here's what happened
                tonight -- poor Christy came home
                alone and interrupted a burglary.
                That sound logical?


71   INT. SULLIVAN VAULT - NIGHT                                   71

     Luther in the closet.    He nods.

72   INT. SULLIVAN MASTER BEDROOM - NIGHT                          72

     Burton and Collin nod, too.

               We're going to have to sanitize
               this place.
                      (shaking Richmond)
               Alan, did you have sex with her?

     Richmond, eyes barely open.

               ... Don'... 'member...

               Bill, you're going to have to
               examine her.

               I'm no gynecologist.

                      (she takes nothing
                       from nobody)
               I just made you one.

     End of discussion.

73   INT. SULLIVAN MASTER BEDROOM - NIGHT (LATER)                  73

     A clock on the side table beside the three clickers.

     There is the sound of a VACUUM -- it's later now.

     The place is incredibly changed. Christy is lying as
     before -- except now she is fully dressed. The bed has
     been made with clean sheets. There is a large black
     garbage bag that Collin shoves the sheets in, dumps in
     Christy's jewelry. Burton is VACUUMING the rug.

     Richmond is visible, still in terrible shape, finishing
     putting his clothes on in the open master bedroom.

     Everyone wears gloves.

     Everything that is incriminating is gone --



73   CONTINUED:                                                   73

     -- except the letter opener, which has been put in a
     clear plastic bag. Collin reaches for it, starts to dump
     it in along with the sheets and the jewelry.

                  I'll take that.

               It's got their prints on it.

                      (she holds out her
               Thanks for sharing.

     Collin glances at Burton, shrugs, hands it over. Russell
     puts it in her handbag, puts the handbag on the bed table
     when suddenly --

     Richmond, careening into the room, wide-eyed, crying
     out --

               Gloria -- I killed her --

     Russell, turning, shocked as Richmond bears down --

     -- she holds out her arms for him, but he is staggering
     and he collides hard with her, spins against the wall,
     uses the bed table to try to steady himself.

74   INT. SULLIVAN VAULT - NIGHT                                  74

     Luther, stunned, staring.

75   INT. SULLIVAN MASTER BEDROOM - NIGHT                         75

     What he's staring at: the letter opener has spilled from
     her open purse and fallen behind the bed, out of sight.

     Russell, calm, going to Richmond, starting to lead him
     from the room --

               It's all going to be fine, Alan.

               ... But she's dead...



75   CONTINUED:                                                   75

               ... I'll take care of everything
               just like I always do.
                      (to Burton and Collin)

     She gestures to leave.

     Burton and Collin finish up -- Collin grabs the large
     plastic bag. Burton glances around one final time and
     backs toward the door, vacuuming carefully. Then --

     Collin stops dead.   He stares across at the bed table.

76   INT. SULLIVAN VAULT - NIGHT                                  76

     Luther, holding his breath.




     In reply, Collin dashes back toward the bed table, grabs
     Russell's purse, snaps it shut, tucks it under one arm
     and leaves.

     Burton flicks the light out, closes the door.

     The room is lit by moonlight now. Christy looks
     beautiful and still. HOLD for a moment.

78   EXT. MANSION - FRONT DOOR - NIGHT                            78

     It's open and Russell leads a staggering Richmond
     outside. Two dark Towncars are parked in the driveway.

     Burton is behind them, turning off all lights. Collin is
     last, with Russell's purse, the garbage bag. As he
     follows them outside, he closes the front door firmly --
     it makes a loud, solid sound.

79   INT. SULLIVAN VAULT - LUTHER - NIGHT                         79

     The sound is barely audible.   He has been looking at his
     watch --



79   CONTINUED:                                                  79

     The watch face is illuminated in the darkness. The
     second hand is fifteen seconds away from the top.

     Luther takes a deep breath, waits in silence.

     The WATCH face:   the sound is loud, like "60 Minutes."

80   EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT                    80

     Burton and Russell moving with Richmond toward one of the
     cars. Burton takes the man in his arms, leaving Russell
     free to open the back door.

     Collin dumps the plastic bag into the trunk, shuts it,
     moves quickly so that he can get a decent view of the

     The road in front of the house. Empty. Collin hurries
     to the Towncar where Burton is struggling to get Richmond
     comfortably stretched out on the back seat.

81   INT. SULLIVAN VAULT - NIGHT                                 81

     The second hand on Luther's watch hits the top and he
     moves into action.

     -- He points the clicker at the door --

     -- the door starts to swing open --

     -- Luther, backpack in hand, strides quickly into the
     bedroom, turns, points the clicker again and as the door
     starts to swing shut -- Luther carefully tosses the
     clicker back inside.

82   INT. SULLIVAN VAULT - ARMCHAIR - NIGHT                      82

     as the clicker lands -- dead-solid perfect --

83   INT. SULLIVAN MASTER BEDROOM - NIGHT                        83

     Luther, in the bedroom, moving to the nightstand,
     carrying his backpack --

     -- he slows as he circles the body of Christy Sullivan,
     looks sadly down at her, continues on as we MOVE TO...


)B(   ABSOLUTE POWER - Rev. 5/16/96                         25.

83    CONTINUED:                                                  83

      The bed table. First, Luther opens the drawer and                *
      pockets the necklace. Tense, he kneels, probes behind            *
      the table, reaches farther and then -- the letter opener!
      In the plastic bag. Luther grabs it.

      He rises, opener in hand, and goes to the far window that
      has a view of the front of the house. He looks out,

84    EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT                    84

      The cars are still there. Burton is visible helping
      Russell in. Collin hands over her purse, closes the
      door. He and Burton move to the front doors.

85    INT. SULLIVAN MASTER BEDROOM - NIGHT                        85

      Luther, going to the rear window. He opens the window
      slowly and silently. He ties one end of the rope around
      the leg of a heavy, wooden chest of drawers --

      -- now he carefully plays the knotted rope out the

86    EXT. SULLIVAN DRIVEWAY - TOWNCAR - NIGHT                    86

      Collin heads to one of the Towncars. In the other Burton
      and Russell are getting settled in the front. Richmond
      lies in a stupor, stretched along the rear seat.
      Russell --

      -- a moment of relief. She breathes deep.    And as
      Russell starts to open her purse --

87    EXT. SULLIVAN MANSION - KNOTTED ROPE - NIGHT                87

      as it snakes down the brick mansion -- it reaches the

88    INT. SULLIVAN MASTER BEDROOM - NIGHT                        88

      Luther, putting his backpack on securely.

      The window -- Luther glances out and down.


      Forty feet below.   And it's dark.

)B(   ABSOLUTE POWER - Rev. 5/16/96                       26.

90    INT. SULLIVAN MASTER BEDROOM - NIGHT                       90

      Luther -- he doesn't much like this -- but taking hold of
      the rope, he puts one leg out the window -- only the damn
      backpack makes it complicated and he's caught for a
      moment, clumsily trapped with one leg in, one leg out and
      the backpack wedged against the corner of the window --

      -- and at that moment, there is a SCREAM.

91    EXT. SULLIVAN DRIVEWAY/INT. TOWNCAR - NIGHT                91   *

      Gloria Russell, as every nightmare she has ever had comes
      true -- the fucking letter opener isn't in her purse and
      as she screams again --


      Luther, cursing to himself, forcing his way out the
      window and it isn't easy, but he makes it and then the
      rope slips in his hands and for one precarious moment, he
      is in serious trouble and...

93    EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT                   93

      The Towncar doors bursting open as Burton and Collin come
      barrelling out.

94    EXT. SULLIVAN MANSION - NIGHT                              94

      Luther, getting his grip on the nylon rope again,
      starting to go down -- but it's difficult going for him.

95    EXT. SULLIVAN MANSION - FOYER - NIGHT                      95

      Burton and Collin tearing into the house, Collin in the

96    EXT. SULLIVAN MANSION - NIGHT                              96

      Luther in the night, thirty feet up, and he can hear
      COMMOTION inside the house and he tries to go faster --

      -- but it's not easy; the man is, after all, in his 60s
      and he's dangerously high and his visibility is rotten,
      so he's doing the best he can, but he isn't exactly


97    EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT                     97

      Russell, standing by the Towncar, staring in at the house
      and from the look on her face, you know she thinks her
      life might be over.

98    INT. SULLIVAN MANSION - STAIRCASE - NIGHT                    98

      Burton and Collin, racing up the second floor staircase
      toward the top.

99    EXT. SULLIVAN MANSION - NIGHT                                99

      Luther, halfway down.

100   INT. SULLIVAN MANSION - HALLWAY - NIGHT                      100

      Burton and Collin, tearing along the third floor

101   EXT. SULLIVAN MANSION - NIGHT                                101

      Luther, ten feet off the ground now.

102   INT. SULLIVAN MANSION - NIGHT                                102

      The bedroom door, flying open.

103   EXT. SULLIVAN MANSION - NIGHT                                103

      Luther, six feet to go, three, and he lets go, drops the
      rest of the way, hits the ground running.

104   INT. SULLIVAN MASTER BEDROOM - NIGHT                         104

      Burton, racing toward the window, Collin goes to the
      night table.

105   EXT. SULLIVAN MANSION - NIGHT                                105

      Luther, at the end of the house, turning a corner.

106   INT. SULLIVAN MASTER BEDROOM - NIGHT                         106

      Burton, staring out the window and Luther is gone.


)B(   ABSOLUTE POWER - Rev. 5/16/96                        28.

106   CONTINUED:                                                 106


      Collin, looking around the table and the letter opener is


      And without another word, they bolt out the door.

107   EXT. SULLIVAN MANSION - GROUNDS - NIGHT                    107

      Luther, crashing through the field.   He is in wonderful
      shape --

      -- for a man his age.

      And he gives it all he has but is it going to be enough?

108   EXT. SULLIVAN DRIVEWAY - NIGHT                             108

      The Towncar as Collin yanks something out of the glove
      compartment, and then he is racing off into the night
      after Burton who is a few steps ahead.

109   EXT. SULLIVAN DRIVEWAY/INT. TOWNCAR - NIGHT                109   *

      Russell staring after them -- in the back seat, Richmond
      is in a half-slumber.

110   EXT. SULLIVAN MANSION - GROUNDS - NIGHT                    110

      Luther, bursting out of the underbrush --

      -- up ahead is the most dangerous place for him --

      -- one hundred yards of open field.   He runs on.


      as Collin catches up to the other man, tosses what he
      took from the glove compartment.

      Thermal goggles.

      They put them on, on the fly and...


112   THERMAL POV                                                112

      The world ahead of them as they see it: their FIELD OF
      VISION now resembles a rough computer game. THERMAL
      IMAGES register in red, everything else is dark green.


      Beginning to tire now -- and he's only halfway through
      the open field and...

      Burton and Collin, behind him, can't see him yet, but
      they are moving faster --

      -- and Burton could probably destroy anyone in a fight --

      -- but Collin can fly.

      And he begins to leave Burton behind.

      Luther, and twenty yards ahead of him are some woods that
      spur him on, he pumps his arms, his body straining and
      his breath coming in gasps and...

      Collin, graceful and young and in fabulous shape and just
      ahead is the open field and as he starts into it --

114   THERMAL POV                                                114

      What Collin sees: a THERMAL figure; a man running out of
      the open and then disappearing into the woods.

115   EXT. SULLIVAN GROUNDS - OPEN AREA - NIGHT                  115

      The sight of the figure is enough to kick Collin into
      overdrive and he has never run this fast as he crosses
      the open area.

116   EXT. SULLIVAN GROUNDS - WOODS - NIGHT                      116

      Luther, running through the woods -- he can hear THEM
      now, and he knows they're closing on him and he glances
      back --

      -- and smashes into a fucking tree!... hard... and it
      rocks him, drops him to his knees --

117   EXT. SULLIVAN GROUNDS - OPEN AREA - NIGHT                  117

      Collin and he could be jet propelled.


118   EXT. SULLIVAN GROUNDS - WOODS - NIGHT                         118

      Luther, forcing himself back to his feet and running
      again, giving it everything he has left and he's dodging
      through the trees now.

119   EXT. SULLIVAN GROUNDS - NEAR WOODS - NIGHT                    119

      Burton, behind Collin, but he draws his gun anyway --

      Collin, in the woods, and his gun's drawn too --

      Luther, out of the woods and now his car is visible --

      Collin, in the woods but they're coming to an end.

120   THERMAL POV                                                   120

      The figure up ahead is approaching a car.

121   EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT                  121

      Luther, throwing the car door open, ripping off his
      backpack, tossing it inside, jumping in behind the wheel.

122   EXT. SULLIVAN GROUNDS - WOODS - NIGHT                         122

      Burton.   Pulling up, gasping terribly.   He sinks to one

      Collin, out of the woods! -- Still amazingly without the
      least sign of tiring --

      -- and now there is a sound:   a CAR MOTOR STARTING.

123   EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT                  123

      Luther in his car, wheels spinning.

124   EXT. SULLIVAN GROUNDS - WOODS - NIGHT                         124

      Collin has his pistol ready but it's impossible to hit
      anything when you're running like this.


      Luther, in the car, GUNNING AWAY.


126   EXT. SULLIVAN GROUNDS - WOODS - NIGHT                         126

      Collin.    Slowing.

127   EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT                  127

      The car.    A swirl of dust.

      The dust clears.

      The car rounds a corner, is gone.

128   EXT. SULLIVAN GROUNDS - NIGHT                                 128

      Collin.    He stands there, rips off his thermal goggles --

      -- and surprisingly, he smiles.

      Burton, getting to his feet, his breath still not steady.
      He takes his goggles off too as Collin approaches.

                        (still the smile)
                 I got his license number.

      Now on that --

129   INT. SULLIVAN MASTER BEDROOM - NIGHT                          129

      Russell -- back in the bedroom, with Burton and Collin
      who are moving around constantly, checking the place out.
      Things are just amazingly tense.

                        (close to losing it)
                 Gee, guys, maybe it was the
                 bogeyman -- don't forget to check
                 under the bed --
                 -- You may have buried us! --

                 -- relax, I got his license
                 number, remember? --

                        (whirling on him)
                 -- you think he's going to just
                 sit around waiting for us? --
                 Asshole --

                 -- take it easy, Miss Russell --



129   CONTINUED:                                                      129

                          (trying for calm)
                   -- everybody shut up, all right?

      He is staring at his reflection in the big mirror.      He
      crosses to it, goes to his knees, studies the rug.

      The rug -- indentations in the expensive carpet.

                   Oh boy...

      Burton and Collin with a crowbar, working at the mirror.

      The MIRROR; there is a TEAR and a POP and it swings open.

130   INT. SULLIVAN VAULT - NIGHT                                     130

      All three going inside, looking around.    The chair, the
      looted shelves. The truth thuds home.

      Russell turns, looks out at the bedroom through the door.

                   A two-way mirror.

      Silently, they move out into the bedroom.

131   INT. SULLIVAN MASTER BEDROOM - NIGHT                            131

                   -- I better get cracking on that
                   license number --

                          (no anger now)
                   -- it's all we've got -- and he's
                   got the letter opener -- blood,
                   fingerprints -- Jesus, think what
                   he can do --

                          (a powerful man who
                           speaks softly)
                   -- the man is a thief -- a thief
                   who witnessed a murder --



131   CONTINUED:                                                   131

                              BURTON (CONT'D)
                       (gesturing around)
                -- it looks like he stole a whole
                bunch of money -- I'll tell you
                what he's going to do.
                He's going to run like hell.

      And on that --

132   INT. WASHINGTON MUSEUM - DAY                                 132

      The saddest eyes you ever saw.

      It's the next morning and Luther is back at the same old
      stand, looking at El Greco. The other art students are
      there too. So are the suburban housewives.

      Everything is as it was -- calm and peaceful --

      -- now a museum guard moves into the doorway, scanning
      the room.

      Luther -- a quick glance over, then back to his
      sketchbook -- and from that glance it's clear all is not
      calm and peaceful.

      The guard checks the room again.

      Edgy, Luther still works away.

      The guard leaves.

      Luther gets set to do the same.

133   INT. RED'S BAR - DAY                                         133

      Red, alone in his empty bar, sipping coffee.    It's before
      the place has opened for the day.

      Luther comes in the back.    Red slides the videocassette
      over, Luther pockets it.

                   Jordan beat us at the buzzer.

                   Bad night.

      And as he turns, goes --


134   EXT. JOGGING PARK - PARKING AREA - DAY                         134

      A YOUNG WOMAN parking her car -- a high rocky area above
      the Potomac. Below, a jogging path is visible, full of

      The Young Woman gets out, locks her car, starts down a
      narrow walk toward the joggers.

      She's in her mid-thirties. A good face.        And there's
      something familiar about her.

135   EXT. JOGGING PARK - DAY                                        135

      Luther, standing by the edge of the jogging path,
      studying the runners. Now he registers something:       and

      The Woman in her mid-thirties as she comes jogging along.
      She runs well.

      Luther.   An imperceptible straightening of his clothes.

      The jogger.    We realize who she is: the little girl in
      the photo on   Luther's dining room table. All grown up.
      Now her face   registers something: his presence. Her
      eyes go down   to the path, she increases her speed.

      Luther.   Waving, calling out.

                         (as she runs on)

      She slows, hesitates, stops.

      Kate, hands on hips, breathing deeply, moving to the edge
      of the path as he approaches. The river flows behind
      them. Runners pass by.


                 Probably too late for me to take
                 it up.

      She says nothing -- he gestures toward the path.

                 The jogging.

                                KATE (YOUNG WOMAN)



135   CONTINUED:                                                      135


                   Dumb way to start this, I guess.


                   Wanted to talk to you.


                   Believe it or not, the weather.
                          (as she waits)
                   Nights are starting to get cold.

                   That happens this time of year.

      Luther speaks quickly now, his voice low.

                   I was thinking of maybe
                   relocating. Someplace with a
                   kinder climate.
                          (nothing shows on
                           her face)
                   I just wanted to check it out with
                   you first...
                          (still nothing)
                   ... you're the only family I've

      And on that --

      Kate speaks quickly now, her voice low.

                   Luther, you don't have me.

      The last words in this world he wanted to hear, but you
      can't tell from his face.

                   Kate --

               -- you know what it's like being
               the only kid in show and tell who
               got to talk about visiting day?



135   CONTINUED:    (2)                                              135

                   This move -- I'm talking
                   permanent, you understand.

                   We don't see each other anyway --
                   we haven't seen each other since
                   Mom died and that's a year.
                          (a step toward him)
                   Look, you chose your life. You
                   had that right. You were never
                   around for me. Fine. But I have
                   no plans to be around for you.

      And now she stops, turns away toward the path --

      -- Luther can say nothing, watches her --

      -- then she spins back --

                          (louder now)
                   -- wait a minute -- you're lying
                   about something, aren't you? --

                   -- no --

                   -- are you active again? -- is
                   that why you're here now?

                   -- no --

      Kate moves in close now --

                   -- I don't believe you --
                   -- Christ, Father, what have you

      And on those words --

136   INT. SULLIVAN MASTER BEDROOM - DAY                             136

      Christy Sullivan's body.

      We're back in the master bedroom but now there is a lot
      of police activity -- people work around the corpse. The
      place is covered with black fingerprint powder.


)B(   ABSOLUTE POWER - Rev. 5/16/96                            37.

136   CONTINUED:                                                     136

      SETH FRANK moves into the room -- Bogart at 40. Chief
      Homicide Detective of Middleton County, Virginia but he
      had a decade of top work in New York City. Bright,
      funny, and tough enough for anything you want to throw at

      He kneels beside the body next to an older man. This is
      the MEDICAL EXAMINER, fat and bored. Seth studies
      Christy; sadly shakes his head.

                   Christy Sullivan?

                                 MEDICAL EXAMINER
                   Wife of Walter -- most likely came
                   home and stumbled onto a
                   burglary --

                                 WOMAN (O.S.)
                   -- some burglary.

      LAURA SIMON. Laura is early 30s, and the best lab
      technician Seth has ever known, and he knew some good
      ones in New York.

                                 LAURA SIMON
                   I wish my carpets were this clean.
                   And I can't find a single decent                        *

                   You serious, Laura?

                                 LAURA SIMON
                   It's like Mary Poppins was here.

                   Could someone have let him in?

                                 LAURA SIMON
                   Sorry, Seth, but the entire
                   Sullivan household went to
                   Barbados two days ago.

                   Thank you for your support.



136   CONTINUED:    (2)                                              136

                                 LAURA SIMON
                   Wait -- it gets worse --
                          (moving to the door)
                   -- the shots came from here. If
                   she interrupted a burglary, she
                   should have been here --
                          (moving to the bed now)
                   -- she was killed where she is --
                   all the blood patterns indicate
                   that. But she was looking toward
                   the bed -- what in hell was she
                   looking at?

137   INT. SULLIVAN VAULT - DAY                                      137

      Seth says nothing as he and Laura go in the vault.      Seth
      stares at the chair.

                                  LAURA SIMON
                   Looks like someone sat here -- but
                   I couldn't find any prints.
                          (lowering her voice --
                            indicating the one-way
                   You think Sullivan holed up in the
                   chair and watched his wife

                   I hope not --
                          (shakes his head)
                   -- he's such a great man.

      He moves back into the bedroom.

138   INT. SULLIVAN MASTER BEDROOM - DAY                             138

      Another cop is working on the wall by the bed table where
      a hole the size and shape of a bullet is visible.

                          (as he moves past)
                   Careful digging that out.

      The cop nods.

                                 MEDICAL EXAMINER
                   Looks like he tried to strangle



138   CONTINUED:                                                   138

                   So he tried to strangle her, then
                   went to the door and shot her from

                                 MEDICAL EXAMINER
                   He also inspected her vagina.

      Seth.   Stunned.

                   He did what?   Why?

                                 LAURA SIMON
                   Maybe he couldn't remember if he
                   fucked her.

                           (has to laugh)
                   A strong burglar with a weak mind
                   -- obviously another open and shut

      As he stares around, baffled.

139   EXT. LUTHER'S SAFE HOUSE APT. BUILDING - DAY                 139

      A high rise. It's in a different part of Washington than
      we've seen thus far. Afternoon now.

      An old salesman type is trudging into the building. He's
      slumped, carries heavy salesman type suitcases. He wears
      a battered hat. As he goes inside --

140   INT. BUILDING - FOYER/MAIL AREA - DAY                        140

      The salesman is opening a mail slot with the name
      "Hawthorne" on the outside. A good bit of mail, most of
      it unsolicited. Hawthorne pockets it, unlocks the foyer,
      heads toward the elevator.

141   INT. BUILDING - HALLWAY - DAY                                141

      The elevator and Hawthorne slowly getting out, heading
      toward a corner apartment, taking out some keys --

      -- there are three locks on the door... he takes out
      keys --


142   INT. LUTHER'S SAFE HOUSE APARTMENT - DAY                     142

      Hawthorne walks in, puts the suitcases down, flings his
      hat toward a long sofa --

      -- it's Luther and this, we will come to learn, is what
      he keeps as his safe house. It's neatly furnished,
      modern and clean.

      Now he moves quickly --

      -- first he opens a suitcase -- it contains his full
      backpack from the robbery --

      -- then he opens a locked closet door, revealing a very
      large and sophisticated safe. As he begins to work the
      dial --


      -- the TV ON in the living room as he slides the video
      cassette Red gave him into his machine. Everything has
      been put away.

      The TV as Michael Jordan is introduced to the crowd --

      Luther sits, nurses a beer, watches intently...

144   INT. MORGUE - DAY                                            144

      An old man silently weeping.

      This is WALTER SULLIVAN, one of the giants of the era.    A
      self-made billionaire. Remarkably, the man has few

      At 80, his body may be betraying him -- he was once
      handsome -- but his mind is that of a young man.

      We've seen him before -- in the wedding picture on the
      wall of his mansion. With his young bride Christy.

      He is with her again now, at the morgue. A sheet covers
      her body. The toe tag is visible. Walter, shattered and
      desolate, stares at her once joyous face.

      PULL BACK to reveal --

145   INT. MORGUE - OBSERVATION ROOM - DAY                         145

      Seth Frank, studying Walter THROUGH a two way mirror.
      Seth is moved at depth of the old man's grief. Anyone
      would be. Walter slowly rises --


146   INT. MORGUE - DAY                                             146

      SANDY LORD waiting in an anteroom as Walter enters...

      Sandy Lord is Walter Sullivan's lawyer.     He is 60,
      abrasive, powerful.

      Sandy moves to Walter, gestures toward the front door.
      Seth appears through another door, intercepts them.

                Mr. Sullivan? -- I'm Seth Frank,
                senior homicide detective for
                Middleton County --

                              SANDY LORD
                -- my client is in no mood for
                conversation, sir.

                              WALTER SULLIVAN
                It's all right, Sandy --
                       (looks at Seth)
                -- you're in charge of the case?

                I have to ask some questions, but
                it can be tomorrow.

                              WALTER SULLIVAN
                You want what, positive
                identification? Yes, that was my
                wife. Anything else?

                       (notebook in hand)
                You'd been in Barbados for two

                              WALTER SULLIVAN
                I took the entire staff down --
                always do this time of year.

                But Mrs. Sullivan didn't come.

                              WALTER SULLIVAN
                She was, had it all planned, but
                you know women, they change their



146   CONTINUED:                                                      146

                                 WALTER SULLIVAN (CONT'D)
                          (to Seth, softly)
                   I'd been married to my Rebecca for
                   forty-seven years and when she
                   died, I decided I never wanted
                   that pain again. One thing I knew
                   about Christy: she was going to
                   outlive me.

                                 SANDY LORD
                   I think that's enough for today.

      Takes Walter's arm.

                   I have to ask about the vault.

      And on that -- Walter.     Holds to Sandy for a moment, then
      lets go.

                               WALTER SULLIVAN
                 You mean the contents of the vault
                 of course --
                        (turns to Sandy)
                 -- Sandy, you go on, I'm all
                        (as Sandy looks at
                         him a moment)
                 Really. Go to the reception --
                 obviously I can't make it, but I'm
                 sure everyone will understand.

      Sandy nods, exits.    Seth and Walter are alone.

      Beat.   Then --

                               WALTER SULLIVAN
                 I know it's not the contents --
                        (as Seth embarrassed,
                         stands there)
                 You mean the chair. You have to
                 ask about the chair.

                 Yessir, I do.

                                WALTER SULLIVAN
                 But why?   Are they connected?


)B(   ABSOLUTE POWER - Rev. 5/16/96                           43.

146   CONTINUED:    (2)                                             146

                   I think someone sat in it -- and I
                   think that someone may have been
                   involved in the murder.
                   You were my father's hero, Mr.
                   Sullivan, I promise you this won't
                   make my highlight reel.

      CLOSEUP - WALTER                                                    *


                               WALTER SULLIVAN
                 I'd hoped I could satisfy her...
                 but you know... she had needs and
                 she didn't want to go behind my
                 back... she suggested the chair...
                 she hoped I might get to like
                 sitting there...
                 ... I didn't...
                        (takes a breath)
                 I've tried for eighty years to
                 live a decent life. I've given a
                 billion dollars to charity. If
                 this comes to trial, none of that
                 will be remembered -- I'll just go
                 out as the joke of the world.

      Seth.   He closes his notebook.

                I understand, sir; I'll do what I

                              WALTER SULLIVAN
                Will you listen to me whine?
                Please forgive me, Mr. Frank.
                Just do your job.
                And I'll do mine.

      Walter slowly moves to the door.    Seth watches him.

147   EXT. WHITE HOUSE - MAGIC HOUR                                 147

      A gorgeous SHOT of a very famous place.    The sun is
      setting. It all looks magical.


148   INT. WHITE HOUSE - NORTH PORTICO - NIGHT                     148

      A room filled with well-dressed men and women. Formal
      attire. The  rich and the famous. But the only one we
      recognize is Sandy Lord, deep in conversation with
      several other men. Now, someone says his name.

                                 MAN (O.S.)
                       (as Sandy turns)
                Is there anything I can do?

                                 SANDY LORD
                Mr. President.

      And on those words -- The 44th President of the United
      States. He has all the natural charm in the world. He
      is remarkably bright, with a phenomenal memory. He is,
      also, at this moment, one of the most popular men in
      American history, three years into a brilliant first
      term, a shoo-in for re-election when that ritual comes.

      His name, by the way, is Alan Richmond, and we've seen
      him before, most recently lying drunk in the back seat of
      a dark Towncar.

                Take a walk with me.

      He and Sandy start out of the room. A well-dressed woman
      moves with them. She is Chief of Staff and her name is

      Two men in suits follow behind. Burton and Collin are
      their names and they are the best the Secret Service has
      to offer.

149   INT. WHITE HOUSE - CORRIDOR - NIGHT                          149

      The group, as they leave the room, come to a wide

                Tell me about Walter -- how is he?

                              SANDY LORD
                Eighty and alone, Mr. President.

                He understands officially my hands
                are tied?

                              SANDY LORD
                Mr. President, he's touched at
                your concern.


)B(   ABSOLUTE POWER - Rev. 5/16/96                       45.

149   CONTINUED:                                                149

                   Any news of the killer?
                          (as Sandy indicates
                   Well, why isn't there? Who's in
                   charge of the case?

                                 SANDY LORD
                   Top man -- eight years homicide
                   work in New York. But I
                   understand how you feel -- it's
                   hard to be patient.

                          (terribly upset)
                   No one understands how I feel --
                   I'm supposed to have all this
                   power but I can't help my oldest
                   friend -- you know and I know that
                   more than any man alive Walter
                   Sullivan put me here -- and now
                   when he most needs me, he must
                   feel abandoned.

      CLOSEUP - RICHMOND                                              *

      On fire --

                   -- I'll hold a press conference --
                   and I'll have Walter come -- and I
                   will embrace him before the world.

      Sandy.   Listening.    Moved.

                                 SANDY LORD
                   He'll treasure that, Mr.
                   President. What a generous
                   gesture. Thank you. Thank you.

      And he reaches out, shakes Richmond's hand, squeezes
      Richmond's arm and -- Richmond -- suddenly screaming in
      pain -- Sandy pulls back, shocked. Richmond looks

                          (quick smile)
                   Damn tennis elbow is killing me.

      And on that --


150   INT. HALLWAY OUTSIDE OVAL OFFICE - NIGHT                     150

      Richmond, immediately after, and he sure isn't smiling
      now -- he storms toward the Oval Office, Russell, Burton
      and Collin hurrying to keep up.

151   INT. OVAL OFFICE - NIGHT                                     151

      Burton opens the door for them, closes it once they're

                      (throws off his jacket,
                       turns on Russell)
               This thing's worse, Gloria. I
               need to see a doctor.

               The country would have to be
               informed, Mr. President.

               What happened to my right to
                      (rolls up his sleeve,
                        studies his cut)
               I think she nicked a tendon.

                Burton says it's a flesh wound --

                       (to Burton)
                -- when did you become such an
                expert, Bill? -- Ever been
                wounded? --

                Yes, sir. Many times.

      The fireplace.   Richmond goes to it, rubs his arm, stares
      at the flames.

                Are you serious about that press
                conference, Alan?

                Of course I am -- Walter's been
                like a father to me.

                Shall I bring Mrs. Richmond home
                for it?



151   CONTINUED:                                              151

      Richmond, turning from the fire now, quietly.

                   I think Mrs. Richmond's mission to
                   help the poor in Asia should not
                   be interrupted.
                          (takes a breath,
                           starts to button
                           his shirt)
                   We know anything yet?

                   We checked his license plate -- he
                   stole the car from a police
                   impoundment lot.

                   We're not dealing with a fool
                          (gestures toward his
                           jacket, as Russell
                           helps him into it)
                   Has he initiated contact?

                   Burton doesn't think he will.

                   I agree.
                          (checking himself
                            in a mirror)
                   Sorry about my behavior -- won't
                   happen again; think of it as a
                   blip on the screen. And as far as
                   I'm concerned, so is he.

                  He could be a little more than
                  that, Alan -- he saw.

      Richmond.    Big.

                   He saw nothing -- a drunk woman
                   who liked rough sex too much. And
                   he's a burglar. Who's going to
                   believe him?
                   After all, it's not as if he had
                   evidence or anything...

      And on those words --

)B(   ABSOLUTE POWER - Rev. 5/16/96                          48.


      Luther holds it. It's the middle of the night. Luther
      turns the weapon over and over in his big hands...

153   EXT. WHITE HOUSE REAR GATE - NIGHT (LITTLE LATER)            153   *

      Burton is alone in his car, exiting the gate and driving           *
      home. He turns onto the main road.


      He picks up speed.   Glances around -- no cars are

      Burton reaches into his pocket, takes out a MICRO-
      CASSETTE RECORDER, flicks it ON.

                              RICHMOND (V.O.)
                What happened to my right to
                I think she nicked a tendon.

      Burton clicks the cassette off, puts it back into his
      pocket. Drives into the night...

155   INT. KATE'S APARTMENT - TINY KITCHEN - DAY                   155

      A stove with one burner on high.   A tea kettle is over
      the flame.

      It is morning and Kate is clearly not fully awake. She
      is finishing making instant coffee with lowfat milk and
      Sweet 'n Low; next she goes to the front door of her
      apartment, opens it, picks up the morning Washington

      She unfolds the paper as she starts back to the
      kitchen --


      Huge headlines -- as big as you can get without a war.




155   CONTINUED:                                                    155


      Kate looks at it only a moment, shakes her head, then
      starts to turn her attention to another section of the
      paper --

      -- she doesn't get that far.

      Kate:   she has seen something she didn't catch before --

      The front page again.    And the headline is still there --

      -- but there is a smaller headline beneath it:

                               Jewel Thief Sought

      Kate sits down hard. Trying for control.      Entering a
      nightmare. She stares at the paper.

      The front page. Pictures of the mansion, of Walter
      smiling on his wedding day, of Christy.

      But Kate's eyes keep coming back to the smaller headline:

                               Jewel Thief Sought

      She tries to sip coffee, spills. She closes her eyes --
      in the kitchen, the pot of WATER starts to SHRIEK. Kate
      does not move.


      Kids riding bicycles.    Very Norman Rockwell.

157   INT. VALERIE'S BASEMENT - DAY                                 157

      A bald man. There is the sound of a CLICK.       We realize
      after a moment that the bald man is Luther.

      Another SHOT of Luther looking very different -- full
      beard. Again, a CLICK.

      Luther again -- elegant beard this time.      CLICK.

      PULL BACK to reveal --

      We are in the basement game room of one of the suburban

      But our attention is on a whole string of Polaroids of



157   CONTINUED:                                                     157

      Two people are present: Luther and VALERIE.      Valerie is
      very small, and doesn't miss much.

      She has been photographing him, and as the last photo
      slides out of the camera, she blows on it, puts it
      alongside the others.

                           (as they study the
                   You always did disappear good,

                   You mean I've got a weak face.
                   Thanks, Val.

                   You're lucky is all -- some of my
                   customers, they stand out no
                   matter what.

      An order form book.    Valerie licks a pencil with her

                   How many passports you need?

                   Four should cover it.

                      (writes this down)
               Now you'll want different looks,
               and matching international
               driver's licenses -- I'll throw in
               some dummy credit cards, seeing
               it's you. How the rugs I made you
               holding up?

               They're good. Beards and
               mustaches, too.

               I try to give value for money.
               Leaving the country permanent?

               It may come to that.


)B(   ABSOLUTE POWER - Rev. 5/16/96                          51.

157   CONTINUED:    (2)                                            157

                   Matter where you've been? -- I
                   hate doing those goddam Asian
                   passport stamps.

                Europe's fine. Maybe the
                Caribbean for winters. When can I
                pick up?

                Usually takes some time, but for
                you, I'll rush it.

                Thanks, Val. I've always been
                able to count on you.

      Valerie puts the order book down, studies him.


                I don't want to know what you're
                into, but leaving forever...

                Finish it.

                I never figured you for a runner
                -- thirty percent of my runners
                kill themselves within five years.

                       (kisses her forehead)
                Five years doesn't sound so bad to
                me just now.

      And as he heads out --

158   INT. POLICE HEADQUARTERS - CRIMINAL LAB - DAY                158

      Seth and Laura in the good-sized criminal lab.    Loaded
      with up-to-date equipment.

      Seth has drawn a picture of the crime scene. Words like            *
      "Bedroom Door," "Exit Window," "Vault," "Bed," "Victim"
      are written neatly to scale. He holds a sheaf of papers.


)B(   ABSOLUTE POWER - Rev. 5/16/96                            52.

158   CONTINUED:                                                     158

      It's late afternoon and things are already getting
      crazed. NOISE in the b.g. throughout.

                   See if any of this makes sense.

      Seth mimes opening the "bedroom door," stepping inside,
      closing it. He makes a click with his tongue.

                   I am Christy Sullivan and I walk
                   in and surprise a burglar.

      Seth moves to the "vault door," mimes closing that, makes
      a grunt.

                   Now you're the burglar coming out
                   of the vault and being surprised.

                   Gold star.
                          (aims his finger like
                           a pistol)
                   I draw my gun --

                          (cutting in)
                   -- then why do you bother to
                   strangle her when you could just

               That's nothing -- why do I bother
               to have her strip and then put her
               clothes back on?

               There I can help you -- see,
               before you were a burglar you were
               a dry cleaner and you still love
               beautiful clothes.

               And I dress her because?

               She was a good customer and you
               didn't want her embarrassed when
               the police came.

                                                      (CONTINUED)          *

)B(   ABSOLUTE POWER - Rev. 5/16/96                           53.

158   CONTINUED:    (2)                                             158   *



                She had a point-21 blood alcohol
                level. -- she was too drunk to
                drive. I've checked every cab and
                limo company in the area and not
                one of them knows anything.
                Someone drove her home. Goddamit,
                who? And why haven't they come

                Maybe whoever drove her home
                killed her.

                You saying the burglar drove her
                I hate this case.

      An open door behind them. A TELEPHONE REPAIRMAN appears.
      Nice looking kid with a dazzling smile.

                              TELEPHONE REPAIRMAN
                Lieutenant? -- sorry to bother you
                       (as Seth turns)
                I've got your phone working again,
                shouldn't give you any more

                Good service, thanks.

                              TELEPHONE REPAIRMAN
                       (dazzling smile
                        as he goes)
                Part of the job.

      Seth and Laura.     Seth's lost his train of thought.   Then --

               Oh yeah    -- remember that bullet
               hole in    the wall? Had the lab dig
               out the    slug -- guess what -- no
               slug --    why does the burglar take
               the time    to do that?

               Different from the one in her

)B(   ABSOLUTE POWER - Rev. 5/16/96                         54.

158   CONTINUED:    (3)                                           158   *

                          (getting more and
                           more upset)
                   Oh I like that a lot -- two
                   different guns means two different
                   burglars. Two guys broke in? And
                   they both went out the window?
                   And oh, by the way, why does he --
                   or they -- go out the window in
                   the first place when he -- or they
                   -- got in by breaking a zillion-
                   dollar security system? --

                                  COP (O.S.)
                   -- Seth?


                          (in doorway)
                   A Bill Burton of the Secret
                   Service in the parking lot.

                          (gives papers to
                   Here, you solve the goddam thing.
                          (as he starts away)
                   Did I mention that I hate this
                   case? I really truly hate this
                   case -- you cannot imagine how
                   much I hate it --

159   EXT. POLICE HEADQUARTERS - PARKING LOT - DAY                159

      Burton waits by his car as Seth walks up.

                          (as they shake)
                   Bill Burton, hi --

                   -- hi, Seth Frank --

                   -- I know you must be going crazy
                   -- but the boss is very interested
                   in your progress. Maybe we can
                   help each other.



159   CONTINUED:                                              159

                   What did you have in mind?

                  You know how close he and Sullivan
                         (as Seth nods)
                  The minute anything breaks, if
                  you'd call me, I'd tell the
                  President. That way, he'd be the
                  first to alert Mr. Sullivan -- it
                  would mean a lot to him. And any
                  red tape you want cut -- done.
                         (as he takes out
                  Here are my numbers.

      He turns, opens his front car door.

                           (getting in)

                  Still trying to figure out what
                  might have happened --

                  -- I loved playing Sherlock

                   You Secret Service guys do that?

                   I was State Trooper here ten years
                   ago before the Government got me.

      Seth.     It just pops out.

                   You're that Bill Burton.

      Burton.    Embarrassed.

                   I was younger and dumber then.
                   Keep in touch.

      Seth waves as Burton drives away.

)B(   ABSOLUTE POWER - Rev. 5/16/96                          56.

160   EXT. STREET NEAR POLICE HEADQUARTERS - DAY                   160

      Burton. He drives alertly along, turns a corner. Up
      ahead, a telephone repair truck has stopped. The
      Repairman leans out. He has a dazzling smile. He and
      Burton wave to each other...

161   INT. SULLIVAN DINING ROOM - NIGHT                            161   *

      Quietly elegant. Two men are finishing dinner.      Walter
      Sullivan we know.

      MICHAEL McCARTY, his dinner companion, is 35, fit,
      handsome, beautifully dressed. He is, at present, torn
      by a silver tray of small French pastries.

                               WALTER SULLIVAN
                        (noting McCarty's
                The chef makes them especially for
                me -- I promise you they're

      McCarty grabs one, downs it, grins sheepishly.

                You're a salesman, Mr. Sullivan.

      Sullivan nods as they rise.

162   INT. SULLIVAN LIVING ROOM - NIGHT                            162   *

      Tastefully appointed, as one would expect.

                              WALTER SULLIVAN
                This is a new arena for me, but
                from what I'm told, you have a
                flawless reputation, Mister
                McCarty -- which is why I need to
                employ you.


                              WALTER SULLIVAN
                I have no idea who I'm after.
                Until I do, you will have to wait
                in Washington for instructions.


)B(   ABSOLUTE POWER - Rev. 5/16/96                             57.

162   CONTINUED:                                                      162

                   Out of the question, I'm afraid.
                          (explaining as they
                   Mine isn't particularly creative
                   work -- I only do it because I
                   enjoy living beyond my means. I
                   can't afford to just sit around.

      A sofa.   Walter gestures for them to sit.

                                 WALTER SULLIVAN
                   When I was 10 my father died -- he
                   was a miner and lung disease
                   killed him. I became rich at 25
                   and the first thing I did was
                   purchase that mine, close it, and
                   give every miner there fifty
                   thousand dollars to retire on.
                          (beat; staring at
                           McCarty now)
                   You will come to Washington, Mr.
                   McCarty. You will put one million
                   dollars expenses into the Swiss                          *
                   bank account of your choosing.
                   And, when the time comes, two
                   million dollars a bullet.

                          (smiles, nods)
                   You are a salesman, sir.

                                 WALTER SULLIVAN
                   Selling sin is easy...

      Now, sharply...

                                                      CUT TO:


      PULL BACK to reveal...

      ... Seth and Laura, in his office.      The mug shot is on
      his desk, along with some folders.      Seth beckons to her.

                          (studying photo)
                   Who is he?



163   CONTINUED:                                                    163

                   Luther Whitney --
                   -- one of the great thieves of the

      Seth.    The words pour out.

                 Been going nuts with this thing,
                 up all night and I remembered your
                 notion how it might be two
                 burglars, and around dawn I
                 thought, wait, what if it wasn't
                 two burglars but what if it was
                 one guy trying to throw us off by
                 making it look like two?
                 Called a buddy at the Bureau --
                 they keep track of this stuff
                 internationally -- he says maybe
                 only a half a dozen guys alive
                 could have pulled off the Sullivan
                 job -- I'm tracing all six --
                 -- but Whitney's the only one
                 lives in Washington.

      Laura.   Looking at Seth now.   Starting to get excited,

                 Why haven't I ever heard of him?

                 Because he hasn't been arrested in
                 thirty years.

                        (indicating mug shot)
                 This his graduation picture from

                        (waving her off)
                 Ancient history -- he wasn't a
                 jewel thief back then. Just a
                 kid, just part of a gang, a three-
                 time loser. But since he got out
                 the last time, he's only worked
                 alone --


)B(   ABSOLUTE POWER - Rev. 5/16/96                         59.

163   CONTINUED:    (2)                                           163

                                 SETH (CONT'D)
                   -- and no one's touched him.
                          (shakes his head)
                   He gets questioned whenever
                   anything big comes up. But
                   nothing sticks.

                       (really excited now)
               Seth -- we can make this stick --
               I'll bet you anything this is our
               guy -- a local? -- can't ask for
               more --

                             SETH                                       *
                      (makes a face)                                    *
               We've got a problem.                                     *

                                LAURA                                   *
               -- what? --

               Whitney hasn't killed anyone in 45

      Laura doesn't get it.


               Big deal, so he's a veteran.

               Not just a veteran -- a wounded
                      (indicating folder)
               Got his combat record here.
               Battles, commendations,                                  *
               decorations up the kazoo.                                *
               Lives alone on his disability.                           *
               Says he does anyway.                                     *
                      (glum)                                            *
               And I don't do war heroes...                             *

                                                  CUT TO:

164   EXT. WASHINGTON MUSEUM - DAY                                164

      Luther -- it's a beautiful morning now and he's walking
      up the steps to the art museum. He seems in a terrific
      mood as he goes inside --


)B(   ABSOLUTE POWER - Rev. 5/16/96                       59A.

164   CONTINUED:                                                 164

      -- HOLD.

      Seth has been on the steps of the museum, watching him.
      Now quickly --

165   INT. WASHINGTON MUSEUM - DAY                              165

      Luther, inside, peering back out at Seth. And he doesn't
      seem in as terrific a mood now. He hesitates, keeps on


166   EXT. WASHINGTON MUSEUM - DAY                                  166

      Seth.   Outside -- and he knows Luther was watching.

167   INT. WASHINGTON MUSEUM - DAY                                  167

      El Greco. The usual group has gathered, sketching away.
      Luther is deeply engrossed in his labors.

      Seth enters the room, casually taking it all in. He
      approaches the group, ends up behind Luther who is intent
      on getting the hands right.

                       (not looking)
                Boy, you must be smart.

                         (really taken aback)

                Usually takes a week for you guys
                to get to me.
                       (turns, smiles)
                You look just like your picture,
                Seth. I'm Luther Whitney.

      He reaches out to shake a surprised Seth's hand --

168   INT. MUSEUM - COFFEE SHOP - DAY                               168

      They walk in, go to  the food line. There is, throughout,
      a bantering tone.   Not that it matters, but these two, in
      a different world,  would like each other -- they're both,
      in their own ways,  deeply moral men.

                So, do you want my confession now
                or after coffee?

      As Luther draws some coffee from an urn --

                       (doing the same)
                Before I send you away for life, I
                should probably check out your



168   CONTINUED:                                                         168

                   Watched the Bullets game    with Red
                   Bransford. Prison buddy     of mine
                   -- runs a bar -- want to    question
                   me about the game? I'm     probably

      They each give the cashier some money and we see a quiet
      table in the corner as they head for it.

                   You been following the case?

                          (nods vigorously)
                   I love true crime --

                   -- F.B.I. feels only a few guys
                   could have handled something as
                   hard as the Sullivan job.
                          (touches his notebook)
                   I've got a list here; you're on

                          (nothing shows)
                   I wish it was true.
                          (shakes his head)
                   Your robber actually went in the
                   front door but came out down a
                   rope in the dark in the middle of
                   the night?
                          (as Seth nods;
                           Luther sighs)
                   If only I could do stuff like that
                   -- I'd be the star of my A.A.R.P.

      Luther and Seth as they sit.     Seth smiles, looks at

                   Luther? Why was this so hard?

      Luther.   Now he's surprised.    He kind of smiles.

                   You want me to help solve your



168   CONTINUED:    (2)                                              168

                   Just looking   for insight. How
                   would you --   scratch that -- how
                   would one go   about it? What kind
                   of person do   you think I should be
                   looking for?

                          (like a shot)
                   Older fella. Like me.

                          (now he smiles)

                   Need patience. The secret is just
                   research, research, research --
                   from everything I've read.

      Seth. This hasn't gone at all the way he thought -- and
      he's starting to get fascinated.

                   Research for what?

                   Well, from what I can tell on the
                   tube, it's not a small house.
                          (as Seth nods)
                   There had to be an architect,
                   right? You'd be able to tell
                   which one from public records in
                   the library. And once you know
                   the office, you could break in and
                   find the plans and Xerox them, get
                   them back before morning.

                   Not just steal them?

               Seth -- breaking in isn't hard --
               what's hard is breaking in so no
               one knows you've been there. Now,
               after the architect, next you'd
               want the contractor's office --
               and the security company's office.
               You know the skill involved
               breaking the security of a
               security company?
                      (shakes his head)
               I wonder how those guys do it?



168   CONTINUED:    (3)                                              168

                   Why go to all that trouble?

                   Papers said he kept the money in a
                   vault, yes?
                          (as Seth nods)
                   Well, I'm guessing there was
                   probably some secret way to open
                   it --

                   -- clicker --

                   -- explain --

                   -- gizmo -- looked like a V.C.R.
                   remote --

                           (shaking his head)
                   -- amazing --
                   -- must have been a lot of money

                          (sipping casually;
                           a pause)
                   Five million.

      And on those words --

      Luther, more than he thought, a lot more -- but of course
      nothing shows -- instead he breaks out laughing.

                   Why's that funny?

                   The way you said it -- as if you
                   were trying to surprise me.

                   I was trying to surprise you.

                          (smiles back)
                   There you go.



168   CONTINUED:    (4)                                          168

      Seth sips his coffee, takes out his notebook, opens it.

                   Would the burglar use a disguise?

                   Seth, you've got to get with the
                   program you expect to catch this
                   guy -- most likely it is a guy, am
                   I right? Some kind of weird

                   Maybe like you.

                          (couldn't agree more)
                   I'm the perfect prototype.
                          (sipping away)
                   But you see any face often enough,
                   you'll start putting things
                   together. That's why these top
                   guys disguise themselves. I read
                   a great article a couple of years
                   back -- damn, I wish I could
                   remember where -- anyway, it was
                   about these makeup experts some of
                   them use -- wigmakers, people like

                          (flipping a page)
                   Go on about the wigmakers.

                       (glancing at his watch)
                I'd love that but I'm late as it
                is -- got to get my pacemaker
                       (he likes Seth)
                -- all this excitement, you

                       (and he likes Luther)
                A) You don't have a pacemaker, and
                B) I'll be back tomorrow.

                Tomorrow is promised to no one.

      HOLD ON Luther.


169   INT. LUTHER'S SMALL HOUSE - BEDROOM - NIGHT                    169

      Luther is throwing clothes into a suitcase while talking
      on the phone --

                Not 'til morning?
                       (makes a face)
                -- I'll be by early --

      He hangs up, shuts the suitcase, takes off out the
      door --

170   INT. KATE'S APARTMENT - NIGHT                                  170

      A place we've seen briefly before.   Dark.   Moonlight
      through the windows.

      The sound of a KEY IN the DOOR.

      Luther enters, takes out a tiny flashlight. We're in one
      largish room, books all over. The home of someone who
      doesn't care a whole lot about their home.

171   INT. KITCHEN - NIGHT                                           171

      Luther enters. He opens the fridge. Disaster -- still
      water, sparkling water, carrot sticks.

                       (sadly, muttering)
                Katie darling, you've gotta try
                real food sometime.

      He closes the door, moves back into the room --

172   INT. KATE'S APARTMENT - NIGHT                                  172

      A graduation photo of Kate. Luther touches it with a
      fingertip, moves on through the silence.

173   INT. KATE'S APARTMENT - BEDROOM - NIGHT                        173

      Luther by the bed now, he flashes his light around --

      -- what the light illuminates: a bed table full of law
      books. Expected. A phone/answering machine. The
      mandatory lamp.

      And photographs. A proud mother and daughter picture.
      The daughter is Kate. The mother is a fine-looking woman
      with a kind face.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         66.

173   CONTINUED:                                                  173

      Half a dozen more shots as Kate grew up, the mother grew
      older. Mother and daughter, mother and daughter.
      Nothing unusual here at all.

      So why is Luther so sad?


174   EXT. MIDDLETON COUNTY COURTHOUSE - DAY                      174

      10 A.M. A white-brick, weather-beaten building, Old
      Glory fighting the breeze.

                                 RICHMOND (V.O.)
                   I am having this press conference
                   here because...

      Richmond, speaking on a podium. The press corps stands
      in front of him, TV crews of all kinds, CNN the most

                   ... it is here, at this courthouse,                  *
                   that Christine Sullivan's killer
                   will be tried for his crime.

      Burton and Collin, in the b.g., scanning the crowd.
      Gloria Russell stands behind them.

175   INT. AIRPORT LOUNGE - DAY                                   175

      The same shot -- only now it's grainy -- we're watching
      it on a TV SCREEN. CNN ON the TUBE.

      A BARTENDER cleaning glasses; otherwise, not a whole lot
      going on.

      Now Luther enters, dressed for travel. He goes to a
      stool, orders a ginger ale, puts his passport and ticket
      on the bar, glances toward the TV.

                   Turn that off, okay?

                          (finishing up the
                   In a sec.


176   EXT. MIDDLETON COUNTY COURTHOUSE - DAY                        176

      Richmond at his press conference.   He speaks without
      notes and he speaks beautifully.

                As you know, I came from an
                impoverished family in an
                impoverished town -- but we lived
                with our doors unlocked.

      Russell watching, listening; she loves hearing him talk.

                              RICHMOND (O.S.)
                We all lock our doors now, but
                that is not what concerns me...

      Burton and Collin, scanning the crowd.

                              RICHMOND (O.S.)
                ... we are also locking our
                hearts... that is the sadness,
                that is the loss.

      Richmond, and suddenly he's like a Southern minister.

                We are locking our hearts to the
                cries of the weary, we are locking
                our hearts to the poor and their

      An old man, standing behind Russell.     We realize it's
      Walter Sullivan.

                              RICHMOND (O.S.)
                ... Sisters and brothers, we are
                locking our hearts to ourselves.

177   INT. AIRPORT LOUNGE - DAY                                     177

      Walter Sullivan. Grainy now. CNN. He has aged
      shockingly in the past couple of days.

      Luther staring sympathetically at the devastated old man.

      -- Sullivan's image suddenly is gone --

      -- The Bartender has TURNED OFF the TELEVISION.

                Put it back on.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         68.

177   CONTINUED:                                                  177

                          (starting to argue)
                   You said --

                          (cutting through)
                   Do it --

      CNN.   Walter Sullivan is still there.

                                  RICHMOND (V.O.)
                   We feel savagery and violence must
                   be allowed a place at table.
                   That is wrong. That is not
                   America. I shall fight that

      Luther, staring at the image of Walter Sullivan, who is
      heartsick and beaten. Luther is simply transfixed --

      -- Richmond on CNN and now he has turned and is beckoning
      for Walter Sullivan to join him.

      Sullivan for a moment is uncertain. He points to himself
      -- "do you mean me?" Richmond nods, opens his arms out
      wide. Sullivan gets up, comes forward.

      Luther, as he gets up too, also comes forward, leaving
      the stool, walking close to the television.

      Richmond and Sullivan, grainy on CNN as Richmond embraces
      Sullivan, holds him in a loving embrace.

                                 RICHMOND (V.O.)
                   Dear friend, old friend, we shall
                   fight that battle.

      Sullivan, too overcome by the moment, can only nod.

                                 RICHMOND (V.O.)
                   Who can explain the ways of
                   chance? If we had never met, I
                   would not be President. If
                   Christine had not taken ill, she
                   would be with you in Barbados                        *
                   even now. Oh, Walter, you've                         *
                   always been like a father to me.                     *
                   I would give the world to lessen
                   your pain.


178   EXT. MIDDLETON COUNTY COURTHOUSE - DAY                        178

      The press corps.   Subdued, saddened.

      Richmond and Walter. They turn, face the cameras. The
      president's arm is still around the old man; they both
      blink back tears and now --

      -- here it comes ! --


      Tears of rage in his eyes.   A rage so deep it shocks
      him --

                You -- heartless -- prick --
                -- you -- fucking -- bastard --

      The Bartender, surprised, turning toward Luther. He
      starts to say something, stops; something tells him to
      shut up and he does.

180   EXT. MIDDLETON COUNTY COURTHOUSE - DAY                        180

      Richmond, wiping away tears, alone on camera.

181   INT. AIRPORT LOUNGE - DAY                                     181

      Luther, wiping away tears, in the bar.

      A SHOT of the two of them, Luther and Richmond, one on
      CNN, one in reality, because Luther has moved so close to
      the TV he and Richmond could almost be staring at each

                       (whispered now)
                I'm not running -- not from you.
                I'm going to bring you down...

      HOLD ON the two men.

182   INT. WHITE HOUSE - NORTH PORTICO - DAY                        182

      Seventy very excited people we've never seen before.
      They stare around at their surroundings -- they are in
      the White House. On a guided tour.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         70.

182   CONTINUED:                                                  182

      A bright late morning of what's going to be a beautiful
      day. A guide leads the people through a doorway. They
      troop happily along.

      Luther is with them; he seems happy too.

183   INT. WHITE HOUSE - NORTH PORTICO AREA - DAY                 183

      The guide leads the people through. They look around,
      chat with their friends, follow the guide out.

      Luther follows the guide out too.

      HOLD ON the room.

      All is as it was.

      Except a large envelope has been dropped on a side table.

      MOVE IN ON the envelope --

      -- it's addressed to Gloria Russell.


      Gloria Russell.    Terrified.

      Her doors are closed, Russell is at her desk. Burton
      stands alongside. Collin, silent, sits in a corner.

      And on her desk, half out of the envelope, is a photo-
      graph of the letter opener.

                   He was in the building -- he took
                   a guided tour.

      Burton pulls the picture all the way out, studies it.

                   I've never dealt with blackmail --

                          (trying for calm)
                   -- he doesn't want money --

                -- you a mind reader too?                               *



184   CONTINUED:                                                      184

                          (under control)
                   No, I just looked on the back --
                          (shows her )
                   -- see? --

      Luther has written something.

                   'I don't want money.'

      Russell is more upset.    Burton almost smiles.

                   This guy sure has the guts of a
                   burglar. Wish we had him.

      Collin laughs.

                   You finished your recruiting
                   speech? Because I'd like to know
                   how I handle this.

                   Like you handled the letter

      Russell.     She studies Burton.   Then --

                   Gee, Bill, that could be construed
                   as criticism. Do you really want
                   me as an enemy?

      Burton stands there, massively powerful. His voice, when
      he speaks, is his usual voice: polite, considerate.

                   Miss Russell, I should have called
                   the police that night. But I was
                   weak. You convinced me to stay
                   silent. I regret that.
                          (another pause)
                   Know this: every time I see your
                   face I want to rip your throat

      Russell.     Silence.



184   CONTINUED:    (2)                                           184

                   Fine -- you win the pissing
                   contest --
                          (then suddenly
                           almost like a
                           little girl)
                   -- what should I do?

                Nothing -- because he's making a
                terrible mistake, he thinks he has
                time -- he doesn't -- Seth Frank's
                too good. He'll bring him in.

                Then what?

                       (his first words)
                Then I kill him.

      Now, from them --

185   INT. KATE'S OFFICE - DAY                                    185

      She is, we will find, a top prosecutor for the Common-
      wealth of Virginia. Her office is a zoo.

      On her desk, a baby picture of Kate and her mom smiling
      -- but there is something a little different about it.

      Seth enters and they shake.    He glances around --

      -- sees the photograph, glances away.

      Kate has risen now -- and in the silence it's clear that
      even though they are both standing still, they are both

                      (trying for a smile)
               For a tough prosecutor, you don't
               resemble your reputation, Miss

                      (the same)
               Is that good or bad?



185   CONTINUED:                                                   185

                                  KATE (CONT'D)
                          (before Seth can
                   Look, Lieutenant -- I told you on
                   the phone, I'm simply not involved
                   with my father, so this may not be
                   a waste of time for you, but it
                   sure is for me.

                   What would you do if I just turned
                   around and left?

                   Report you as an incompetent.

                          (a real smile now)
                   You're exactly like your
                   reputation, Miss Whitney --

      As they head out --

186   INT. LOUNGE OUTSIDE KATE'S OFFICE - DAY                      186

      They enter.     It's empty.

                      (the instant
                       they're alone)
               I'm assuming your father's a big
               part of you --

               -- what? --

               -- You think it's all coincidence?
               He's a thief and you just happen
               to be the toughest prosecutor in
               the area?

                      (just amazed)
               Wow -- that never crossed my mind
               -- you think there might be some
               connection? -- Like maybe I'm
               somehow compensating? -- I better
               write that down.

               -- Luther disappeared.



186   CONTINUED:                                                   186

      No reaction.

      A banged-up couch.     Kate sits, shrugs.

                   I think you can help me.

                   Lieutenant -- I don't know the man
                   -- he was in jail when I was a
                   kid, when he got out my mother and
                   I went off to live by ourselves.
                   We don't make contact. He doesn't
                   care about me. I've seen him all
                   of once this past year.


                   Couple days ago. He said he might
                   be going away. There. I just
                   helped you. Can I go back to work

                          (shakes his head)
                   Any idea where he might have gone?

      Seth and Kate realize something: In a different world,
      under different circumstances, they'd probably be
      starting an affair.

                   Quit wasting my time -- if he
                   doesn't want you to find him,
                   you're not going to find him.

                   You saying he's left town, skipped
                   the country, what?

               I'm saying you won't recognize
               him. I'm saying he could be just
               around the corner -- he always
               kept a safe house --

                      (cutting in)
               -- where? --


)B(   ABSOLUTE POWER - Rev. 5/16/96                              75.

186   CONTINUED:    (2)                                                186

                   He never said --

                   -- Then where'd you hear this?

      CLOSEUP - KATE                                                         *

                   -- my mother loved him, all right?
                   -- Even after she left him -- even
                   when she was dying she always
                   talked about him -- 'If only he
                   hadn't this,' 'if only he could
                   have that' --

      She stops.

      Seth, watching her.


                   I meet a lot of asshole cops like
                   you -- guys who O.D.'d on
                   Columbo --

                 -- Lady, I may be an asshole cop
                 but you don't know me well enough
                 to call me one --

                 -- There's something else, isn't
                 there? Something you want me to
                 do? -- But you won't say ---

      Seth.   There is.   But he won't say.

      Kate.   For the first time now, apprehension.     Now --

187   EXT. LUTHER'S HOUSE - DAY                                        187

      The row of small, neat houses -- where Luther lived.

      Kate and Seth get out of his car, go to the front door.

                 How long did he live here?



187   CONTINUED:                                                   187


                   Never been.

188   EXT. LUTHER'S FRONT DOOR - DAY                               188

      Seth stoops, gets the key from under the terra cotta

                   Strange place for a thief to leave
                   a key, don't you think?

                          (quick memory)
                   He always did that...

189   INT. LUTHER'S HOUSE - LIVING ROOM - DAY                      189

      They enter.    It's surprisingly tidy.

      Seth and Kate as they move along.    Seth is watching Kate
      who suddenly stops dead.

      The mantle. A large blowup of the same picture Kate had
      in her office, the one of Kate and her mom --

      -- with one startling change: Luther is in this shot,
      standing there proud and smiling. She has ripped his
      presence out of her photo.

      Seth, silently watching Kate. She turns sharply away.
      He gestures for her to follow.

190   INT. LUTHER'S BEDROOM - DAY                                  190

      They enter.    Clothes tossed all over.

                   He sure took off in a hurry. What
                   scares a professional thief like

      Kate. No reply. She has seen something across the tiny
      room and is drawn to it --

      Luther's bed table --

      -- and here it is!



190   CONTINUED:                                                    190

      Call it a montage, call it a collage, call it what you
      will, we are looking at dozens of photographs --

      -- all of them featuring Kate.

      Many of them we saw in her apartment -- only here, as in
      the photo over the mantle, Luther is there with Kate and
      her mom.

      We are looking at a shrine!

      And there are newer photos too -- Kate at her college
      graduation, Kate at her law school graduation, Kate and
      her mother coming out of an elegant restaurant, Kate
      alone on the steps of Middleton County Courthouse --

      -- these are not posed shots.

      She looks wonderful and alive in all of them --

      Kate. She looks dead now.     All energy gone.   She sits
      heavily down on the bed.

                       (fighting tears)
                ... but he wasn't at those
                       (pointing to the
                         grown-up photos)
                ... college graduation; law school
                graduation; the night Mom and I
                celebrated when I got a job; and
                me alone on the steps? -- I'd just
                won my first case, I was so
                       (still fighting)
                ... I used to think... sometimes
                I'd come home and I'd sense he'd
                been in my apartment, checking the
                fridge, shaking his head because
                he never thought I ate right...
                It's crazy but I just knew Daddy
                was watching over me...

      And now she loses it, starts crying silently.

      Seth kneels alongside her, gives her a handkerchief.

                You can do a good thing, Kate --
                -- help me bring him in. Just
                leave a message on his phone
                machine, you're worried about him.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         78.

190   CONTINUED:    (2)                                           190

                   ... No...

                   It's the truth -- you are worried
                   about him -- this isn't your
                   normal case -- his life may be in
                   danger -- you can save him, make
                   the call --

                   ... He won't come...

                           (indicating the
                   Of course he'll come. You're all
                   he has.

      Kate, staring at the photos, trying to get control.

                          (moving in)
                   Kate, he's on the run   and he's
                   scared and he's right   to be scared
                   because he's going to   get caught
                   -- you don't know the   heat on this.                *

                                 KATE                                   *
                   He's not a murderer.                                 *

                                 SETH                                   *
                   Maybe you're right. Maybe he is                      *
                   innocent. If so I'll have him                        *
                   home and dry in a few hours. But                     *
                   what happens if some hotshot who's
                   trying to make a reputation tracks
                   him down?
                   I can guarantee his safety. You
                   make the call, I make a promise:
                   You'll have your father, home and

191   INT. KATE'S APARTMENT - LATE AFTERNOON                      191

      Kate alone. Totally wiped out. She is on the phone with
      Seth. Outside, the sun is dying.

                   I left a message on his machine,
                   he called back within an hour;
                   we're meeting tomorrow afternoon.

)B(   ABSOLUTE POWER - Rev. 5/16/96                         79.

192   INT. SETH'S OFFICE - LATE AFTERNOON                         192

      Seth, taking it down.


                              KATE (V.O.)
                An open-air place near my office,
                the Cafe Alonzo --

      Seth's excited.


      taking it down.

                              KATE (V.O.)
                Four o'clock -- it's deserted then.

      Burton's excited too.     HOLD.

194   EXT. SKY - MOON - NIGHT                                     194

      high in the sky -- middle of the night now.

195   INT. KATE'S APARTMENT - KATE - NIGHT                        195

      Wired. Pacing across her small apartment, back and
      forth, back and forth.

196   INT. SETH'S OFFICE - SETH - NIGHT                           196

      alone in his office, going over plans, sipping coffee to
      stay awake.

197   INT. BURTON'S BEDROOM - BURTON - NIGHT                      197

      alone in his bed, staring at the ceiling, a nearly empty
      Scotch bottle in one hand.

198   OMITTED                                                     198


      listening to the PHONE MACHINE. We hear KATE'S VOICE.
      "Daddy... I miss you... I'm worried... call me..."

      A CLICK. Luther hangs up, immediately dials again. We
      hear the message start over. "Daddy... I miss you..." As
      he continues to listen --


200   EXT. FIRING RANGE - DAY (EARLY MORNING)                      200

      -- on what's going to be a gorgeous day.

      Burton, yawning, blowing into a steaming paper cup of
      coffee. Collin, wide awake, moves alongside. Collin is
      carrying a rifle.

      -- we are at a government firing range.

      Collin squints into the morning sun.

      Burton, putting down the coffee cup, picking up a pair of

      Burton and Collin staring out --

      -- A distant target is being raised.

      Collin.   He strokes the barrel of his high-powered rifle.

                                                  CUT TO:

201   TARGET                                                       201

      A long way off.

                                                  CUT TO:

202   BURTON                                                       202

      as he has focused the binoculars --

203   BINOCULAR POV - TARGET                                       203

      seen through the binoculars as it comes clear -- the
      bull's eye is small.

                                                 CUT TO:

204   COLLIN                                                       204

      with his rifle. His fingers still move along the barrel.
      No hurry whatsoever --

      -- and then it all goes fast, and in one motion he is
      aiming and FIRING and FIRING again and the sound explodes
      and --

      Burton, dazed.

                                                  CUT TO:


205   TARGET                                                              205

      -- the bull's eye has been totally blown away.

                                                     CUT TO:

206   OMITTED                                                             206

207   INT. DOWNTOWN MEN'S STORE - DAY                                     207

      Luther and a SALESMAN are engaged in conversation.
      Luther is buttoning a new raincoat to the throat. The
      Salesman holds several hats. Luther picks one, tries it

                 I need to look really good today.

      He doesn't like the hat.

                        (as Luther tries
                         the other hat --
                         very rakish, he
                         likes it)
                 It's a woman, I can tell.
                        (as Luther nods)
                 Never too late, is it?

      Luther.   Beaming.

                 You got that right.

      Now, from his happy face --


      PULL BACK to reveal the workmen are on a scaffolding two
      stories up, struggling to replace a glass panel that has

      The glass panel is heavy and bulky and the workmen are
      having a bitch of a time with it.

      The entire front of the building is glass panels.        It
      mirrors the area across the street -- a bunch of
      dilapidated brownstones.

)B(   ABSOLUTE POWER - Rev. 5/16/96                           82.


      They are empty and, according to a sign, are due for
      demolition. All the windows of the brownstones are
      closed -- except one. On an upper story.

210   INT. BROWNSTONE - DAY                                         210

      Inside the window. Michael McCarty, who we last met at              *
      Walter Sullivan's, is there. He looks out.                          *

211   HIS POV                                                       211

      The glass building and the struggling workmen and, on the
      ground floor, a few tables are set outside, with large
      umbrellas alongside each.

      There is a sign:    CAFE ALONZO.

212   INT. BROWNSTONE - DAY                                         212

      McCarty.   Beside him is a leather case.     He opens it.

      The case. A very high-powered rifle. McCarty begins to
      expertly assemble it, taut and businesslike.


      Seth, taut and businesslike, stands by a     blown-up map of
      the Cafe Alonzo area. The restaurant is      circled -- and
      around it are marked places for policemen     to wait -- Seth
      is giving instructions to those policemen     now --

      -- fifty of them.    And no one's smiling.

214   INT. KATE'S APARTMENT - DAY                                   214

      Kate. Dressed and ready. Lying on her bed. Afternoon
      now. She gets up, makes it halfway to the front door --

      -- can't do it -- she turns, goes back to bed, lies down
      again, frozen.

215   EXT. CAFE ALONZO BUILDING - DAY                               215

      The cursing workmen. The glass panel is so damn
      cumbersome they are having a miserable time.

)B(   ABSOLUTE POWER - Rev. 5/16/96                            83.

216   EXT. CAFE ALONZO - DAY                                         216

      An elderly couple sits at one of the half dozen outdoor

      The place is empty.

217   EXT. POLICE HEADQUARTERS - PARKING LOT - DAY                   217

      Seth, outside headquarters now, giving instructions to
      police officers. Behind them: two dozen unmarked cars.

                                                     CUT TO:

218   SUN                                                            218

      Later in the afternoon.

219   EXT. POLICE HEADQUARTERS - PARKING LOT - DAY                   219

      Burton, getting out of his car at Seth's Police

      Seth, finishing instructing a dozen motorcycle cops.                 *
      Burton moves up behind Seth, waits quietly. As Seth is
      done, he sees Burton, they nod, start toward Seth's car.

                The Boss is very grateful.

                Figured he'd    like an eyewitness
                report of the    capture. This is
                our guy -- if    he's innocent, he
                sure took off    awful fast.

220   EXT. CAFE ALONZO BUILDING - DAY                                220

      The three workmen.    Making some headway with the bulky
      glass panel --

221   GUNSCOPE POV                                                   221

      -- now crosshairs cover them and we --

      PULL BACK to reveal --

)B(   ABSOLUTE POWER - Rev. 5/16/96                          84.

222   INT. BROWNSTONE - DAY                                        222

      McCarty, staring out the window of the brownstone, the
      rifle pointed -- very relaxed, he pulls the trigger --
      the RIFLE'S not loaded yet -- and the STACCATO "CLICK" is
      all we hear.

223   INT. CAFE ALONZO BUILDING - LOBBY                            223

      Seth and Burton moving quickly into the lobby of the
      glass office building that adjoins the Cafe Alonzo -- the
      lobby has a clear view of the outdoor part of the cafe.

      Around and behind them, dozens of cops get in position.

224   EXT. STREET - CAFE ALONZO BUILDING - DAY                     224

      Around the corner from the glass building -- unmarked


      Motorcycles, waiting in shadow, out of sight.

226   INT. CAFE ALONZO BUILDING - LOBBY - DAY                      226

      Seth and Burton. They've both seen a lot -- which
      doesn't mean they're not tense. Burton takes out some
      Tums, offers them to Seth. Seth shakes his head, brings
      out Tums of his own.

                                                   CUT TO:

227   SUN                                                          227

      Starting down.

228   EXT. CAFE ALONZO BUILDING - DAY                              228

      The three workmen and they hate their job.   One of them
      glances down.

229   EXT. CAFE ALONZO - DAY                                       229


      Now, from the workmens' angle, a woman moves to one of
      the tables. It's Kate. They don't pay much attention.


230   EXT. CAFE ALONZO - DAY                                       230

      Kate. She hesitates, then decides on the front table.
      She takes a breath. Sits. Motionless.

                                                   CUT TO:

231   GUNSCOPE POV - CLOSEUP ON KATE                               231

      -- now crosshairs cover her face and we --

      PULL BACK to reveal --

232   INT. BROWNSTONE - DAY                                        232

      McCarty as before, with his weapon. He pulls the trigger
      again and again, there is the "CLICK" -- now he flicks
      away a grain of dust from the barrel --

      -- then he puts the weapon down, reaches out and --

      ONE BULLET. It's supersonic ammo. McCarty picks it up,
      blows on it gently. He might be holding a child.

233   INT. CAFE ALONZO BUILDING - LOBBY - DAY                      233

      Burton and Seth.    They can see Kate sitting alone in the
      late afternoon.


      -- And a goddamn WAITER has appeared and is walking out
      toward Kate. He is Asian and very young.

234   EXT. CAFE ALONZO                                             234

      Kate, startled as the Waiter calls out from behind her.

                       (as she spins
                What you want please?

      His English could be a lot better.

                Nothing, thank you.



234   CONTINUED:                                                     234

                   Got to.


                   You sit you eat please.

235   INT. CAFE ALONZO BUILDING - LOBBY - DAY                        235

      Seth and Burton.       Stunned.

                   This is not part of my brilliant
                   master plan.

      More Tums.


      They both crunch away.

236   INT. BROWNSTONE - DAY                                          236

      McCarty, watching the Waiter and Kate. He's not happy
      either. He points a finger at the Waiter, goes "Boom."

237   EXT. CAFE ALONZO - DAY                                         237

      Kate, and it's almost four o'clock and she's not at her

                          (gesturing around)
                   I'm waiting for someone.

                He must eat too, please.

                Oh he will, we both will -- we'll
                order half the menu -- but just
                not now --

      The Waiter nods, finally he turns, starts off.

      Kate.   Trembling.



237   CONTINUED:                                                      237

      The Waiter returning.

                   Cheesecake gone.

                   Thank you so much.

      The Waiter nods again, and this time he does go.

      Kate, watching him, making sure.       Now she sits
      straight --

238   CLOSEUP - KATE                                                  238

      Very shaky, trying to hold it together. And now
      crosshairs cover her face as we PULL BACK to reveal --


      Collin. He holds a very high-powered weapon. It looks
      like it could kill from a thousand yards away.

      Where he is -- and it's not a thousand yards away -- he's
      in an unmarked van on the street, even closer than

      Collin, loading his weapon.       His movements are skilled.
      His concentration is total.

240   INT. BROWNSTONE -    DAY                                        240

      McCarty, glancing out at the office building area. The
      three workmen on the scaffolding are fighting to right
      the glass panel. One of them grabs a rope connected to a
      block and tackle.

      He pulls on the rope.      Slowly, the piece begins to rise.

241   EXT. CAFE ALONZO - DAY                                          241

      Kate, sitting alone, studying her hands.

242   INT. CAFE ALONZO BUILDING - LOBBY - DAY                         242

      Seth and Burton.    The waiting is agony.


243   EXT. CAFE ALONZO - DAY                                        243

      Kate.     It's worse for her.   She glances around --

      -- nothing, no one.

244   INT. BROWNSTONE - DAY                                         244

      McCarty.    All the time in the world.

245   INT. UNMARKED VAN - DAY                                       245

      Collin.    Blows on his weapon slightly.

246   EXT. CAFE ALONZO - DAY                                        246

      Kate, and it's a question of how much longer she can take
      it. Her trembling is almost out of control -- she
      glances around again and --

      -- and there he is!

      Luther Whitney himself, and he looks splendid in his new
      raincoat and hat --

      -- he moves along in the shadow of the office building,
      toward the cafe, walking with his usual grace -- Luther
      always seems to glide.

247   INT. BROWNSTONE - DAY                                         247

      McCarty in the window.    Spotting Luther --

      -- totally controlled.

248   INT. UNMARKED VAN - DAY                                       248

      Collin does the same.

249   INT. LOBBY - DAY                                              249

      Seth and Burton, and the instant Luther is visible, Seth
      gestures toward the policemen: Get ready.

250   INT. BROWNSTONE - McCARTY - DAY                               250

      raising his rifle.


251   INT. UNMARKED VAN - DAY                                    251

      Collin, raising his.

252   EXT. CAFE ALONZO BUILDING - DAY                            252

      The three workmen, raising the glass panel.

253   EXT. CAFE ALONZO - DAY                                     253

      Kate.   Watching her father come closer.

      Luther. It's hard to suppress a smile as he walks
      towards his daughter.

      Kate, still watching.

      Luther, almost there.     Speaks softly.

                I did not kill that woman, Kate.

254   INT. BROWNSTONE - DAY                                      254

      McCarty, flipping off the safety.

255   INT. UNMARKED VAN - DAY                                    255

      Collin, doing the same.

256   EXT. CAFE ALONZO - DAY                                     256

      Luther and Kate, and he starts to sit --

257   INT. LOBBY - DAY                                           257

      Seth, right hand raised -- he's about to start it all in

258   INT. BROWNSTONE - DAY                                      258

      McCarty, his finger floating to the trigger.

259   INT. UNMARKED VAN - DAY                                    259

      Collin, doing the same.


260   EXT. CAFE ALONZO - DAY                                     260

      Luther, seated now and as at last, he reaches out for his
      daughter's hand --

261   EXT. CAFE ALONZO BUILDING - DAY                            261

      -- The three workmen, and for a moment the glass panel
      slips and tilts and as it catches the afternoon sun --

262   INT. BROWNSTONE - DAY                                      262

      -- McCarty, blinded as the red reflection hits his eyes
      but he FIRES.

263   EXT. CAFE ALONZO - DAY                                     263

      Luther and Kate as suddenly the umbrella at their table
      is severed and starts to topple.

264   INT. UNMARKED VAN - DAY                                    264

      Collin, startled, and he FIRES too.

265   EXT. CAFE ALONZO - DAY                                     265

      Luther, instantly diving toward Kate as the second BULLET
      EXPLODES in the pavement close by.

266   INT. LOBBY - DAY                                           266

      Seth, stunned, because this is crazy and Burton, stunned,
      eyes wide.

267   EXT. CAFE ALONZO - DAY                                     267

      Luther, taking Kate down to the sidewalk, protecting her
      body with his body and --

      Madness! -- because all goes nuts now as there are shouts
      and screams and people running this way, that way --

268   INT. LOBBY - DAY                                           268

      -- Seth is in the center of it all, shouting
      instructions, racing with Burton out of the building --

)B(   ABSOLUTE POWER - Rev. 5/16/96                          91.

269   EXT. STREET/CAFE ALONZO BUILDING - DAY                       269

      -- unmarked cars fill the street --

      -- a hundred uniformed policemen charge --

      -- MOTORCYCLES ROAR in from everywhere --

270   EXT. CAFE ALONZO - DAY                                       270

      -- Kate lies dazed -- staring at the chaos -- here come
      thirty uniformed policemen --                                      *

      -- and here come thirty more --                                    *

271   EXT. REAR OF BROWNSTONE - DAY                                271

      -- McCarty races out of the back of the building, leaps
      into a SPORTSCAR, GUNS away --

272   INT. UNMARKED VAN - DAY                                      272

      -- Collin disassembles his rifle, scrambles from the
      van --

273   INT. LOBBY - DAY                                             273

      -- Burton stays close to Seth, watching it all --

274   EXT. CAFE ALONZO BUILDING - DAY                              274

      -- The three workmen look down at it all -- then they
      look at each other in total confusion -- what the fuck is
      going on? --

      -- because what they see is that the recently-deserted
      plaza is now stuffed with cops and more cops and vehicles
      and here come more and here come even more --

275   EXT. CAFE ALONZO - DAY                                       275

      And Kate sits now, staring around, looking for Luther --
      -- and Seth in the middle of it all stares around,
      looking for Luther --

      -- because where the hell is he?

      A black police lieutenant, shouting for his men to spread


)B(   ABSOLUTE POWER - Rev. 5/16/96                          92.

275   CONTINUED:                                                   275

      Burton, turning, turning, trying to make sense of it all.

      Three police sergeants on MOTORCYCLES, GUNNING through
      the crowd.

      Kate, standing now, looking down -- and then she sees it
      -- on the ground where Luther was: a new raincoat and a
      new hat and --

      Seth, and it's all gone wrong and it's all going crazy
      and there is noise and there are shouts and there are

      The black police lieutenant, breaking into a run, chasing
      after someone we can't quite make out.

276   INT. CAFE ALONZO - DAY                                       276   *

      A tall uniformed police lieutenant, entering Cafe
      Alonzo --

      -- he passes a couple of guys in chef's hats and the
      Chinese waiter who just gapes out toward what was his
      service area --

      -- the tall uniformed police lieutenant moves gracefully
      past --

      -- it's Luther.

      He goes to the front door of the place, glances back
      toward where the NOISE is still mounting -- shakes his
      head -- out the door and gone!

277   INT. KATE'S APARTMENT - NIGHT                                277

      The door to Kate's apartment opening and Seth coming in
      with Kate. Evening. Kate is as drained as you'd expect.

                         (glancing around)

                I like that in a woman.

      She doesn't smile.

      Seth, giving her back her keys and a piece of paper.    His
      voice is raw from all the shouting.


)B(   ABSOLUTE POWER - Rev. 5/16/96                              93.

277   CONTINUED:                                                       277

                   Top number's local police --
                          (as she nods)
                   -- other two are my office and
                          (off another nod)
                   I live alone, too, call anytime.
                   Want me to get someone to spend
                   the night?

                   I just need some sleep.

                  I've got surveillance outside.
                  And I'm keeping it on 'til this is
                  over. I've got a feeling he's
                  going to try and contact you.

                  You're on a hot streak, I guess.

                  Listen, I'm sorry.

      Kate.   Nothing to say.

                  Anything unusual, call me right
                  away -- not a bother, I live

                  You said.

                         (he knows that)
                  Feeble, huh?

      She nods.    They look at each other.    Then he starts toward         *
      the door.    Slowly.

                  Anything for the road?     I've got
                  water and water.


278   INT. KATE'S APARTMENT - KITCHEN - NIGHT                          278

      They enter and she opens the fridge --



278   CONTINUED:                                                   278

      -- and it's full of food: milk and fruit and cookies.
      Kate stares, then quickly glances at Seth. He just
      points to a bottle.

                   Pelligrino would be great.
                          (off Kate, who can't
                           help it, breaks out
                   What's funny, I say it wrong?

                   Tired is all.

      As she hands him a bottle.

279   INT. KATE'S APARTMENT - FRONT DOOR - NIGHT                   279

      as they move toward it.      He opens it.

                I don't think I've told you this,
                but I live alone.
                       (and this time, as she
                        does smile, and he
                        does go)
                Lock it behind me.

                       (LOCKING it loudly)
                How's that?

                                SETH (O.S.)
                Real good.    Try and sleep.

      His FOOTSTEPS get softer, DISAPPEAR.

                       (still facing door,
                        her back to her
                I betrayed you, Luther. You
                better know that now.

                              LUTHER (O.S.)
                You're not the first.

      As Kate turns, Luther, standing there, is looking at her.

                Why'd you come?



279   CONTINUED:                                                       279

                   You have to know I'm not a

                   No, this afternoon. To the
                   restaurant. Why'd you come then?
                   You must have suspected something,
                   or you wouldn't have been

                   My daughter wanted to see me.

      He points to the couch -- as Kate sits.      Luther, and
      before she's even seated, he's into it.

                The robbery went fine 'til they
                came in. They were drunk. I hid
                in the vault. Sex got rough. He
                was going to kill Christy, but she
                turned the tables, was going to
                kill him. Two guys came in, shot
                her dead.

                The same two guys who tried for
                you this afternoon?

                Probably only one of them. I
                think Walter Sullivan might have
                hired the other.

                Pretty powerful enemy; good going.

                Not as powerful as the President
                of the United States.

      Kate just looks at him.

      Dead silence.

                Richmond was drunk. The two guys
                are Secret Service. Chief of
                Staff Russell planned the coverup.

      Kate just looks at him.


)B(   ABSOLUTE POWER - Rev. 5/16/96                               96.

279   CONTINUED:    (2)                                                 279

      Dead silence.

      Luther.     Studying her.    Not a great reaction.

      Kate.     Little shake of the head.

                   Every word true.

                   You're saying you're innocent of
                   the murder? Why in the world                               *
                   should I believe you?

      CLOSEUP - LUTHER                                                        *

      Long pause.

                   Because I swear on Mattie's grave.

      KATE                                                                    *

      Rocked --

      Luther, going to her.

                   On your mother's grave, Kate --
                   you know I'd kill myself before
                   I'd lie about that.

      Kate. Looking at him.        Because he wouldn't lie, not
      about that.

      Everything he's told her, all true.

      The air goes out of her.


                  Jesus, Luther.

                  I know.

                  They'll kill you.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         97.

279   CONTINUED:    (3)                                           279

                   I know.

                   Can you run?

      Luther as he sits beside her on the couch.

                   I was set to. At the airport.
                   All the money I'd ever need.

      CLOSEUP - LUTHER                                                  *

               But I saw that bastard using                             *
               Sullivan on the T.V. -- maybe I
               couldn't have saved that woman,
               Kate. But I didn't even try.
               I know what you think of me and I
               know what we've been to each
               other --
               -- haven't been to each other.
               And it's not the time to try and
               explain my life --

      KATE                                                              *

      watching his face now.

               -- but I've never robbed anyone
               couldn't afford it and I've never
               stiffed a waitress.
               And Alan Richmond has to pay.

               What can you do?

               Not much, maybe -- but I only went
               to jail when I had partners.
               People betray each other, Kate --
               nowadays, when there's a group,
               someone wants to write a book --


)B(   ABSOLUTE POWER - Rev. 5/16/96                         98.

279   CONTINUED:   (4)                                            279

                              LUTHER (CONT'D)
                -- these people hate each other.
                And if I can drive them just a
                little bit nuts, who knows how
                they'll react under pressure?
                       (rises and looks at
                Glad for the talk, wish we'd had

      Luther crosses to the door, turns.

                This is probably it; you
                understand that.
                       (as she does, he still
                        looks at her. Then -- )
                I was never going to tell you
                this, but I watched you argue a
                case last year -- thank God you
                got your brains from your mother.

      Kate standing now, too -- they're across the room from
      each other.

                It's dangerous outside.

                It always is --
                -- and I may not make you proud,
                Kate --
                -- but I'm not going down alone...

      And on that...

280   EXT. RUSSELL APARTMENT BUILDING - DAY                       280

      An elegant high-rise in Washington. Crisp, cool
      afternoon. A DOORMAN stands outside, enjoying the day.

      A well-dressed man rounds the corner; he holds a small,
      beautifully-wrapped package with a small envelope
      attached. He moves to the Doorman.



280   CONTINUED:                                                     280

                                 WELL-DRESSED MAN
                          (it's Luther)
                   For Miss Gloria Russell.

      He hands it over.

                          (taking it)
                   Want me to sign anything?

                          (shakes head)
                   I trust you.

      And he turns, walks quickly away as we --

281   INT. RUSSELL'S APARTMENT - DAY                                 281

      The envelope being opened. It's early evening now.       The
      message inside is short and clear --

                          Thanks for the rescue.

      Russell smiles, and as she opens the package --

282   INT. WHITE HOUSE - EAST ROOM - NIGHT                           282

      A beautiful necklace. Antique mostly likely. And
      tasteful -- we hear the sound of an ORCHESTRA PLAYING

      PULL BACK to reveal Gloria Russell, looking just
      splendid, the necklace around her throat, entering a
      large and very impressive White House dinner-dance.
      Clearly an important affair of state.

      We've never seen Russell quite      like this -- relaxed,
      secure in her femininity. She       nods distantly to Burton
      and Collin who are, as always,      close the President. For
      the first time now, we realize      something: Gloria Russell
      is hot for Alan Richmond.

      Richmond, on the edge of the dance floor, chatting with
      some elderly couples, several of them European, all of
      them wealthy.

                          (as Russell approaches)
                   You're a vision this evening, Miss


)B(   ABSOLUTE POWER - Rev. 5/16/96                             100.

282   CONTINUED:                                                       282

                   Thank you, Mr. President.
                   And thank you, Mr. President.

                          (doesn't understand)
                          (off her, radiant,
                           indicating the
                   Come again?

      This time she touches it -- he bends close to her.

                   You sent it to me this afternoon.

      Long pause -- then...

      CLOSEUP - RICHMOND                                                     *

      So happy.

                   Well, of course.
                          (now, to the others)
                   Excuse me, all -- I am overcome
                   with the desire to dance with my
                   Chief of Staff.
      A hand to her -- Russell, beaming, moves out onto the
      dance floor with him.

      Everyone at the gathering, watching them.

      Richmond and Russell, very much aware that all eyes are
      on them --

      -- what we don't know is this: they are both wonderful
      dancers. And they seem to be reveling in their moves --

      -- because throughout this, they never stop smiling.

                   What is this nonsense? I'm hoping
                   there's an explanation.


)B(   ABSOLUTE POWER - Rev. 5/16/96                               101.

282   CONTINUED:    (2)                                                  282

                   Your gift, Alan -- I was
                   overwhelmed -- and your note was
                   so gratifying --

                          (cutting in)
                   -- I sent a note?

                   Yes, yes, you think I don't know
                   your writing? I assumed you
                   wanted me to wear it tonight.

      The necklace.       He looks at it as they spin gracefully.

                   It is lovely, Gloria -- and you
                   know what else?

      They do a perfect dip.

                   What, Alan?

                   Christy Sullivan wore it the night                          *
                   she was killed.                                             *

      Russell, a quick glint of panic, a gentle peal of
      feminine laughter.

      Richmond and Russell -- he bends her back, their mouths
      are close.

                   You realize what this means?
                   Whitney's been heard from.

      CLOSEUP - RUSSELL                                                        *

      They spin and glide.       Long pause.   Then --

                   It's not precisely the first time,
                   Mr. President.
      The MUSIC is BUILDING TO CLIMAX now.       Their movements
      become more grand.


)B(   ABSOLUTE POWER - Rev. 5/16/96                          102.

282   CONTINUED:    (3)                                             282   *

                          (so happy)
                   You've been keeping things from

                   Only because you have so much on
                   your plate, Alan; we wanted to
                   spare you.
                   He sent me a Polaroid of the
                   letter opener yesterday.

      CLOSEUP - RICHMOND                                                  *

      A kick in the teeth --

      -- he summons all his control, goes into even more
      complicated movements.
      The crowd of elegant men and women, it's really wonderful
      dancing they're seeing -- they start to applaud.

      Richmond and Russell, hearing the sound. Richmond
      acknowledges it with a smile as they come to climax.

                   Well, now --
                          (a final flourish)
                   -- I need time to think -- come
                   see me in my office in the
                   morning --
                   This will certainly make for an
                   interesting chapter in my memoirs.

      And as they bow...

      The crowd applauding louder, while on the dance floor,
      the President of the United States and the Chief of Staff
      applaud happily back. As the sound builds --

283   EXT. BURTON'S HOUSE - ROOF - NIGHT                            283

      Luther in the night.    Silence.

      He is moving across the rooftop of a home. He carries a
      briefcase -- Luther's making business calls.

      Ahead is an attic window -- as he slides it open --


284   INT. BURTON'S HOUSE - ATTIC - NIGHT                        284

      Luther, slipping inside. Some stairs are just across.
      He goes down them, opens the door --

285   INT. BURTON'S HOUSE - HALLWAY - NIGHT                      285

      Luther stepping into the main part of the dark house. He
      stops. No noise at all except that of someone BREATHING
      DEEPLY, coming from an open bedroom door.

      Luther passes by -- for an instant we can see that Burton
      is asleep, an empty bottle by his head.

286   INT. COLLIN'S HOUSE - NIGHT                                286

      Luther rounding a corner --

      -- and we can tell immediately he's in a different house
      now. Burton's had only old furnishings, these are modern
      and new.

      Luther pauses, listening.     Nothing.

      He moves forward then, turns another corner --

287   INT. RUSSELL'S APARTMENT - NIGHT                           287

      -- and now we can tell he's someplace else -- this is an
      apartment with a large window looking out on the city.

      Luther doesn't stop to admire the view.    He moves
      silently on...

      HOLD ON the window.

      And suddenly:   Dawn -- the sun is starting to rise.

      PULL BACK to reveal --

288   INT. RUSSELL'S APARTMENT - BEDROOM - DAWN                  288

      Gloria Russell, as the ALARM GOES OFF.    She sits --

      -- she stretches --

      -- then she stares -- something has been taped to her
      lamp. We are looking at an issue of the Washington Post
      -- Russell's photo smiles out -- there is a headline that
      says simply: RUSSELL TO BE CHIEF OF STAFF.

      Written across her picture are the words: "This
      shitstorm is your fault -- if we go down, you go down!"
      Russell takes the paper down, stares at it. Furious.


289   INT. BURTON'S HOUSE - KITCHEN - MORNING                    289

      Burton, hung over, staggering into the kitchen of his
      home, stopping dead. A newspaper is set beside his
      coffee pot.

      A front page of the Washington Post. Years back. The
      lead article reports that a siege has been successfully
      broken --

      -- Burton, bloody and wounded, is being carried to an
      ambulance. A hero. Across the top these words have been


      Burton stares.   Steaming.

290   INT. COLLIN'S HOUSE - BATHROOM - MORNING                   290

      Collin, yawning, going into his bathroom --

      -- across his mirror is taped a large white piece of
      paper, across which is written in thick black marker --
      "If you could shoot for shit, we'd be out of this."

      Collin angrily rips it down.

291   EXT. DOWNTOWN NEWSSTAND - MORNING                          291

      A bunch of commuters and businessmen are buying papers.

      The newspapers. Washington, New York, Philadelphia --
      and they're all different front pages, of course, but one
      photo in all of them is the same --

      -- every one of them is running the mug shot of Luther.
      And the sense of the stories is the same too:

                          HAVE YOU SEEN THIS MAN?

                                                    CUT TO:

292   COMMUTERS                                                  292

      crowded around, making their purchases. Some of them are
      young, some of them are half asleep. One of them is in
      his 60's and very wide awake --

      -- it's Luther --

      -- as he buys a paper, looks at the headline --


292A   INT. BURTON'S OFFICE                                      292A

       Still early morning -- Collin is going through Burton's
       desk hurriedly --

       -- when Burton surprises him --

                 What are you doing?

                        (closes the desk,
                 Needed a pen.

                        (pointing to his
                 There's pens --
                        (moving in)
                 -- you don't trust me? --

                 -- I don't answer to you, asshole

       Russell in the doorway now, glaring at them.

                 You're both assholes, now move --

       And on that --

293    INT. OVAL OFFICE - DAY                                    293

       The note that was sent to Russell and the Polaroid of the
       letter opener.

       PULL BACK to reveal --

       The Polaroid and the note are on Richmond's desk. He
       studies them. Russell, Burton and Collin stand silently
       watching him, their hatred of each other clear.

       The smell of death's in the room.

                       (holding the note now,
                        his voice is, when he
                        speaks, calm; to Burton)
                Any idea who could have forged it?


)B(   ABSOLUTE POWER - Rev. 5/16/96                    106.

293   CONTINUED:                                              293

                   I talked to Seth Frank --
                   apparently Whitney learned how in

                   Very gifted man.

      The window as he walks to it, looks out.

                   And are we close to stopping him?

                   We're working round the clock.

                   Good to know that.

                   He'll make a mistake.

                   Good to know that too.

      CLOSEUP - RICHMOND                                            *

      With more meaning than the words convey --

                   There is one other thing you'll
                   want to take care of.

      The other three, looking at Richmond.

                   You're sure you want to do that?

                   She's a young prosecutor,
                   prosecutors ask questions -- she
                   might know what he knows...
                          (a reassuring smile)
                   Let's get cracking, shall we?
                   Show you love your country.

      On those words --


294   INT. KATE'S APARTMENT BUILDING HALLWAY - DAY                  294

      Kate Whitney, getting into the elevator.    Off to work.
      She pushes for the lobby.

      The doors close and the elevator starts down.

295   INT. ELEVATOR - DAY                                           295

      Kate checks her purse to see if she has everything.

296   INSERT - ELEVATOR BUTTON                                      296

      The "L" is lit --

      -- but when the elevator gets there, it does not stop but
      goes straight on down to the basement.

297   INT. ELEVATOR - KATE - DAY                                    297

      That's strange.     She instinctively moves to the rear of
      the car.

      ODD SOUNDS from the basement.     Kate's just the least bit

298   INT. ELEVATOR IN BASEMENT - DAY                               298

      The ODD SOUNDS are LOUDER.

      And the doors don't open when they should.

299   INT. ELEVATOR - KATE - DAY                                    299

      and now she's starting to get a little scared.

300   INT. BASEMENT - ELEVATOR DOORS - DAY                          300

      The doors sliding open and the Super standing there with

                Sorry, Miss Whitney, but this
                thing's giving us a little

      Kate nods, smiles back, relieved.

)B(   ABSOLUTE POWER - Rev. 5/16/96                         108.

301   EXT. KATE'S APARTMENT BUILDING - DAY                         301

      Kate, leaving her building, going toward her car, getting

      Down the block is a police car. Two surveillance cops
      inside. Kate starts to drive -- and so do they.

      Kate turns a corner --

      -- and so do they --

      -- and as they do, they pass Luther, parked on the
      corner. Watching. Satisfied, he drives off in another

302   EXT. OUTER CITY ROAD (WASHINGTON) - DAY                    302

      Luther, heading out of the city.    The sun is higher in
      the sky.

303   EXT. COUNTRY ROAD - DAY                                      303

      Several cars. Traffic is moving slowly.     Luther
      continues to drive.

304   EXT. KATE'S OFFICE BUILDING - DAY                            304

      Kate, coming out of her office building, hurrying along
      the sidewalk. Lunch hour.
      She goes past some brownstones -- the two cops walk                *
      behind --

      -- the window of one of the brownstones is open, shadowy
      movement from inside --

      -- Kate hurries past, not paying attention... Cops don't

305   EXT. BROWNSTONE - DAY                                        305

      Now a figure begins to appear in the window --

      The figure holds something long and thin, like a rifle
      barrel --

      -- it's a large woman with a long mop -- as she shakes
      it --

      Afternoon and the sun is strong.


306   EXT. SULLIVAN MASTER BEDROOM - DAY                                 306

      Sunlight, streaming in an open bedroom window.          Whose
      bedroom, though?

      Two maids are cleaning it --

      -- and now we realize where we are: Walter Sullivan's
      bedroom, but it's all been changed, different rug,
      different fabrics, different furnishings.

      The maids work silently and well. A final sweep of a
      dust rag here, a last tug at the bedspread there.

      Done.   They go to the door, take a last look around.


      They go.

      HOLD ON the empty room.

      Keep HOLDING.

      Now, silently, the vault door opens -- a gardener steps
      out, clicker in hand.

      The gardener -- it's Luther -- he clicks it, tosses it
      back inside --

      -- the door starts to close --

      -- but before it shuts, we can see he's returned what he
      took the night of the robbery.

      And as he moves silently toward the door.

307   EXT. GAS STATION (WASHINGTON CITY LIMITS) - DAY                    307

      The outskirts of Washington.       Mid-afternoon now.

      Luther's at a pay phone.

308   INT. SETH'S OFFICE - DAY                                           308

      Seth, as he picks up the phone --

                                  LUTHER (V.O.)
                 Kate okay?

                 Where are you?


309    EXT. PAY PHONE - DAY                                      309

       Luther.   Fast.

                 I'm not staying on long enough for
                 you to track this, just answer me.

310    INT. SETH'S OFFICE - DAY                                  310

                 She couldn't be in better hands --
                 talk about catching a break,
                 Secret Service called me. They're
                 taking over surveillance --

311    EXT. PAY PHONE - DAY                                      311

       The telephone swinging back and forth --

       -- and in the b.g., a car MOTOR ROARING away.


       Kate, coming down the elevator again -- in her jogging
       clothes now. She has pushed the lobby button.

       The elevator stops suddenly on the second floor --

       -- The Super gets in, smiles.

                 Got it working fine, Miss Whitney.

       Kate nods, smiles back --

312A   EXT. WASHINGTON STREET - DAY                              312A

       Luther, driving like crazy through the city.

312B   EXT. KATE'S APARTMENT BUILDING - DAY                      312B

       Kate, getting into her car in front of her building,
       driving off -- no one is behind her.

312C   EXT. WASHINGTON - ANOTHER STREET - DAY                    312C

       Luther, HONKING his HORN as he barrels around a corner,
       scattering traffic.

)B(    ABSOLUTE POWER - Rev. 5/16/96                       111.

312D   EXT. JOGGING PARK ENTRANCE - DAY                          312D *

       Kate drives into the park past a sign reading:                    *
       "PARKING LOT."                                                    *

312E   EXT. ROAD NEAR JOGGING PARK - DAY                         312E

       Luther, gunning along -- up ahead the park is visible


       Kate, following an arrow that leads to the parking lot.

       Luther, in the park, now, suddenly shouting "Shit" as
       we --

312G   EXT. JOGGING PARK - PARKING LOT - DAY                     312G

       A "DETOUR" sign.

       Kate, entering the parking lot.

312H   EXT. JOGGING PARK - PARKING LOT AREA - DAY                312H

       Luther, out of his car now, running like crazy through
       the park. Ahead is a sign saying: "JOGGING PATH."

313    EXT. JOGGING PARK - PARKING AREA - DAY                    313

       Not many other cars so she gets a space in front,
       overlooking the river, and as she stops, takes out her
       keys --

314    BURTON AND COLLIN                                          314

       Collin at the wheel, ROARING in behind her, rear-ending
       her hard.

       -- there is a SCREECH of BRAKES and a SCREAM --

314A   EXT. JOGGING PARK - TRAIL - DAY                            314A

       Luther as he hears the terrible sound, keeps running.

315    EXT. PARKING LOT - INT. KATE'S CAR - DAY                   315

       Kate in her car as it teeters at the edge and then starts
       its long fall to the jogging path far below.

)B(    ABSOLUTE POWER - Rev. 5/16/96                         112.

316    EXT. JOGGING PARK - PARKING AREA - DAY                    316

       Burton and Collin in their car, driving like hell away.

316A   EXT. JOGGING PARK - TRAIL - DAY                           316A

       Luther, running INTO VIEW, stopping dead, helpless now,
       staring at the worst thing in the world --

317    OMITTED                                                      317

318    EXT. JOGGING PARK CLIFF - DAY                                318   *

       Kate's car, careening against a rocky ledge, then cart
       wheeling the rest of the way down, landing horribly,
       spinning, finally coming to rest upside down and --

                                                  CUT TO:

319    EXT. BOTTOM OF CLIFF - DAY                                   319   *

       Luther running to the car; hands shaking, he manages to            *
       pull front door open and reach inside --

       -- now there are cries as other joggers stop and stare
       and --

       Kate, as Luther pulls her body out of the wreckage.

                 ... Kate...?

       -- no response -- it's impossible to tell if she's
       alive --

       -- in the distance now, the sound of an AMBULANCE.



       PULL BACK to reveal --

       Early evening now, getting dark, and the ambulance
       braking in front of the emergency room of a large city
       hospital --

       -- as doctors and attendants with gurneys come pouring
       out --


321   INT. WASHINGTON HOSPITAL - KATE'S ROOM - NIGHT               321

      A private room. Later.      Kate is bandaged and attached to
      a bunch of equipment --

      -- but however faintly her breathing, it's still
      breathing and it's steady. She's alone for the moment in
      the semi-darkened room.

322   INT. HOSPITAL CORRIDOR - NIGHT                               322

      Empty.    A doctor comes walking along -- it's Collin.

323   INT. HOSPITAL - KATE'S ROOM - NIGHT                          323

      Kate in her room, sleeping.     Another doctor is with her
      now, checking her charts.

324   INT. HOSPITAL CORRIDOR - NIGHT                               324

      Collin. He sees what's going on, stops, pulls out a
      small notebook, pretends to read it, all the while
      glancing toward Kate's room with the one doctor still
      there --

      -- now from around the corner, NOISE, COMING CLOSER --

      Collin turns away from the sound, curses, then stops --

      -- The doctor is done with Kate's charts.

      From around the corner now, the group coming closer

      Kate's doorway as the doctor exits and Collin enters --
      they pass each other --

325   INT. HOSPITAL - KATE'S ROOM - NIGHT                          325

      -- Collin moves a step further into the room --

      -- and now there is something in his hand --

      -- a hypodermic needle.

      Kate.    Out of it.   Lying there, eyes closed.

      Collin, the needle ready, moving silently toward the bed.

      Kate is barely breathing.



325   CONTINUED:                                                    325

      And now suddenly Collin is barely breathing --

      -- because the other doctor's arms have viced around
      Collin's neck, forcing the air out of him.

      Collin, stunned, trying to struggle --

      The doctor jerking Collin's body into the air -- his feet
      are dangling now -- the hypodermic needle drops to the
      bed as the struggle goes on --

      -- and Collin's in fabulous shape. He's young and power-
      ful and he's been in terrible situations before and he
      knows how to fight and he's been taught to defend himself
      and --

      -- tough shit --

      -- the doctor -- it's Luther -- relentlessly increases
      the pressure against Collin's throat --

      -- Collin can't even gasp now --

      -- his feet can't kick anymore --

      -- his body starts to go limp --

      -- his eyes start to slide up into his head --

      -- silence in the room --

      -- it's almost over --

      -- which is when suddenly Luther lets go.

      Collin, eyes flickering open as Luther lays him down on
      the floor. All this next is whispered.

                   Scream. Go on. Which do you want
                   most, for me to kill you or life
                   in jail forever?

      He has gone across the room to the bed.     Collin tries to
      move, can't.

      The hypodermic needle as Luther picks it up carefully,
      starts back to Collin.

                   Going to guess this wasn't to pep
                   her up.


)B(   ABSOLUTE POWER - Rev. 5/16/96                            115.

325   CONTINUED:    (2)                                               325

                          (staring, eyes wide)
                   ... you're not going to kill me...

                   ... why do you think that...?

                   ... you could have but you

      Luther.   Kneeling by Collin now.

                That's because you didn't know
                your crime, prick.

      -- and now he jams the needle against Collin's neck.                  *

      Collin tries to cry out, but Luther covers his mouth.

                          (kneeling close, almost
                           whispering into Collin's
                   I didn't mind you tried to shoot
                   me at the restaurant -- I wouldn't
                   have minded if you'd nailed me at
                   Sullivan's -- part of the job --
                   -- but you fucked with blood.

      Collin.   Terrified.                                                  *

                   ... mercy...

      Luther, bending over him.       Luther pushes the plunger.            *

                   I'm fresh out.

      Collin dying now. His breathing is getting strange, his               *
      body starting to stiffen. And on that --                              *

                                   KATE (O.S.)
                   ... Daddy...?

      Kate, eyes barely open. From her position Luther is
      simply kneeling, nothing else is visible...

                   ... go to sleep, honey...



325   CONTINUED:     (3)                                         325

      She tries to stay awake, can't make it, drifts off.

      Kate.     She closes her eyes.

      Collin.    Luther closes his eyes for him.     Now --

326   INT. HOSPITAL HALLWAY - NIGHT                              326

      A gurney with a figure on it being pushed by a doctor.

327   EXT. HOSPITAL - NIGHT                                      327

      A dumpster outside --

      -- the gurney is there --

      -- the figure isn't --

      -- the sound of a CAR GUNNING into the night and we --

328   INT. SETH'S BATHROOM - NIGHT                               328

      Seth coming out of the shower. He puts a towel around
      him, wipes the steam off the mirror, cries out --

      -- Luther is standing there.

                   I need one answer -- when you
                   interviewed Walter Sullivan, did
                   he say why Christy didn't go to

                          (shakes his head)
                   Just that she changed her mind.
                          (studying Luther)
                   You know who did it, don't you?

                   So will you -- check your
                   phones --

                   -- who'd tap a police officer?

      No reply -- Luther's already headed for the door as we --

)B(   ABSOLUTE POWER - Rev. 5/16/96                         117.

329   EXT. GEORGETOWN MANSION - NIGHT                            329

      Walter Sullivan, getting into his limousine in front of a
      Georgetown mansion. Later in the evening. The car
      starts to move. Walter looks frail and very old now.
      And somehow smaller.

330   EXT. GEORGETOWN/INT. LIMO - NIGHT                          330

      Walter huddled in the back seat, as the street lights
      illuminate him. He might even be ill. In any case, a
      sad figure.

331   EXT. GEORGETOWN - NIGHT                                      331

      The limousine, turning a corner.

332   INT. LIMO - NIGHT                                            332

      Walter.   Blinking.

                               WALTER SULLIVAN
                 Is this a shortcut, Tommy?                              *

                       (turns; it's Luther)
                I'm your replacement driver for
                the evening, sir. Don't worry,
                Tommy's fine.                                            *

                              WALTER SULLIVAN
                Very unusual -- what do I call

                Luther, sir.

                              WALTER SULLIVAN
                And are you familiar with how to
                get to my home, Luther?

                I know the way, sir -- I'm the man
                who robbed you --

      Sullivan says nothing; stares unsmiling.

                -- and you're the man who tried to
                have me killed --



332   CONTINUED:                                                    332

                                 WALTER SULLIVAN
                   -- I'm sorry I missed -- I believe
                   in the Old Testament, sir -- there
                   is nothing wrong with an eye for
                   an eye when a terrible deed has
                   been done.
                   A deed such as yours.

                   You want to believe that, don't
                   you? -- Makes your life a lot
                   simpler if you believe that, isn't
                   that right?
                          (big now)
                   What do you think I gain being

      Sullivan.     Contempt.

                                 WALTER SULLIVAN
                   Have no idea -- you going to rob
                   me again? --

                   I don't need your money, Mr.
                   Sullivan. Look in your vault

                                WALTER SULLIVAN
                         (he has)
                  I'm afraid we're a little late for
                  an attempt at leniency.

333   EXT. GEORGETOWN - STREET - NIGHT                              333


334   INT. LIMO - NIGHT                                             334

                  Shit's coming down tonight, Mr.
                  Sullivan, do you want to be a
                  player or not?
                  Do you want to know what happened,
                  or not? I saw. Your call.

                                 WALTER SULLIVAN
                   I want to know.



334   CONTINUED:                                                    334

                   Are you up to hearing about it? --
                   Do you want to hear how he beat
                   the shit out of her and tried to
                   strangle her -- you have enough
                   left for that? --

                                  WALTER SULLIVAN
                          (a nod)
                   -- I could walk through fire --

      Luther, fast now.

                   I was in the chair when they came
                          (as Sullivan says
                   They were drunk -- at first he
                   only wanted to bruise her -- she
                   fought back, he went for the kill
                   -- she turned the tables. Then he
                   screamed for help.


                                 WALTER SULLIVAN
                   Who else was in my house?

                   Secret Service shot her.

                                 WALTER SULLIVAN
                          (doesn't like it)

                   Gloria Russell handled the cover

                                  WALTER SULLIVAN
                   Stop this --

                   -- don't you want to know who the
                   man was?

                                 WALTER SULLIVAN
                   It was you.

                   We're too old to bullshit each
                   other, Mr. Sullivan.


)B(   ABSOLUTE POWER - Rev. 5/16/96                         120.

334   CONTINUED:    (2)                                            334

                                 WALTER SULLIVAN
                   Who was it then?

                   You know!

      Sullivan, shaking his head as Luther roars on.

                You fucking well do, don't shake
                your head at me -- when you're
                alone at night, when the rage
                takes you and you think of what
                you'd do to revenge her, on those
                nights you put a face to your

                                 WALTER SULLIVAN
                          (coming apart)
                   Stop the car --

                -- we're going all the way,
                Walter --

                              WALTER SULLIVAN
                -- it's too terrible.

                It sure is.

      Walter Sullivan.    A long, shaky moment, then --

                             WALTER SULLIVAN
               ... I know about Alan's reputation
               as a philanderer... but... he
               would never dream of betraying
               me... I gave him the Presidency.

      Luther and Walter as Luther turns a sharp corner and the

                          (pressing it)
                   The press conference -- remember?
                   -- he held you in his arms and
                   said if only Christy hadn't gotten
                   sick she would have been with you                     *
                   in Barbados --                                        *


)B(   ABSOLUTE POWER - Rev. 5/16/96                        121.

334   CONTINUED:    (3)                                           334

                                 LUTHER (CONT'D)
                   -- how do you think he knew she
                   was sick? You didn't tell
                   anybody. But he heard it, all
                   right. He heard it from her.
                   That night. And I heard every
                   word --

      Walter. For a moment, no reaction. Then he sits back
      hard. The air's out of him. He just breathes quietly.
      Then --

                                 WALTER SULLIVAN
                   That's not real proof.

      Luther.   Handing something back.

                   And this?

      Sullivan takes it --

      -- it's the letter opener.

      Sullivan leans back, shuts his eyes.

                              WALTER SULLIVAN
                You could have stolen this.

                I did steal it. But that isn't my
                blood and those aren't my prints.

      CLOSEUP ON SULLIVAN                                               *

      Eyes still shut --

      -- and he's very old and you expect tears --

      -- but he didn't get to be Walter Sullivan by crying --

      -- HOLD ON Walter --

      -- and this incredible shriek of rage explodes! --

      Luther, suddenly stopping the car --

335   EXT. WHITE HOUSE GATE - NIGHT                               335

      -- and we're at the rear of the White House.                      *


336   INT. LIMO - NIGHT                                           336

      Walter.   He sits in the back a moment.

      Then he gets out.

337   EXT. WHITE HOUSE GATE/EXT. LIMO - NIGHT                     337

      Luther has gotten out too. They stand close to each
      other. They nod. Then Walter starts away.

                               WALTER SULLIVAN
                        (turns -- quiet now,
                         at peace)
                 I did love her, you know.

      And he walks away.

      A White House SECURITY GUARD as Walter approaches.

                               WALTER SULLIVAN
                 Is he working late? I haven't an
                 appointment but I'd like to see
                 him if I might.

                 You don't need an appointment, Mr.

      And as he waves him through --

      Luther, standing there, watching the old man.

      Walter, a final turn back, a nod of the head.

      Luther.   He nods back, returns to the car, gets in --

      -- and now we begin a BLIZZARD OF CUTS.

338   EXT. WASHINGTON STREET/INT. LIMO - NIGHT                    338

      Luther driving through the night.

339   EXT./INT. NORTH PORTICO ENTRANCE - NIGHT                    339

      Walter entering the White House proper.

340   INT. WHITE HOUSE - BURTON'S OFFICE - NIGHT                  340

      Seth, with a bunch of other officers, standing in front
      of an office with the name "BILL BURTON" on a plaque --
      he opens the door --


)B(   ABSOLUTE POWER - Rev. 5/16/96                           123.

340   CONTINUED:                                                     340

      -- Burton has blown his brains out. A note alongside
      reads: "I am so sorry." Alongside the note is a micro-
      cassette recorder and a dozen tapes.

341   EXT. WASHINGTON STREET/INT. LIMO - NIGHT                   341

      Luther.   Driving faster.


      Walter Sullivan approaching a METAL DETECTOR -- he starts
      to go through --

      -- it GOES OFF --

      Walter's embarrassed.    He holds up his wrist, showing his

      The security guards smile, wave him to go ahead.

      Walter continues on.

343   INT. LIMO - NIGHT                                              343

      Luther, tense, ROARING along.

344   INT. RUSSELL'S - NIGHT                                         344   *

      Gloria Russell -- Seth is with her -- he cuffs her, leads            *
      her out --

345   INT. AREA OUTSIDE OVAL OFFICE - NIGHT                      345

      Walter, by the door of the Oval Office.    The letter
      opener is tight in his hand now.

      The door opens.

      Richmond, arms out, comes to embrace him, as he embraced
      him at the Press Conference.

346   EXT. HOSPITAL PARKING LOT - NIGHT                          346

      Luther pulling up into the parking lot of the hospital,
      getting out, passing the parking lot attendant who is
      listening transfixed to a small radio.


)B(    ABSOLUTE POWER - Rev. 5/16/96                             124.

346    CONTINUED:                                                       346

                                  RADIO ANNOUNCER #1 (V.O.)                   *
                    ... in the greatest shock to the
                    nation since the Kennedy
                    assassination, President Alan
                    Richmond's death has rocked...

       Luther has moved past now; we can't hear the radio

346A   INT. HOSPITAL RECEPTION AREA - NIGHT                            346A

       Luther enters. A number of people are present, all of
       them listening to a large radio, on the desk of the
       Information Clerk.

                                  RADIO ANNOUNCER #2 (V.O.)                   *
                    ... Richmond died violently in the
                    Oval Office and Walter Sullivan...

       Luther has moved past now; we can't hear the radio

347    INT. KATE'S HOSPITAL ROOM - NIGHT                                347

       She dozes.     Luther sits alongside in a chair.

       Outside, the moon is high in the sky.

       Kate blinks, half opens her eyes, sees Luther.

                    ... you're still here...?

                    Haven't budged.

       She dozes again.

347A   INT. HOSPITAL LOUNGE - NIGHT                                    347A

       A coffee machine in a lounge.       Empty.   But a TELEVISION

       Luther enters, gets some coffee.

       The TV is SHOWING the PRESS CONFERENCE Richmond held. As
       we WATCH, Walter Sullivan moves down toward the President
       and they embrace.



347A   CONTINUED:                                                    347A

       Now the Press Conference is over and we are LIVE AT the
       FRONT OF the North Portico of the WHITE HOUSE. A ton of
       reporters --

       -- and Walter Sullivan, in their midst, beckoning for

                                  REPORTER #1 (V.O.)
                    Mister Sullivan, have you no idea
                    why the President took his own

       Luther stops making coffee, looks at the screen.

                                  WALTER SULLIVAN (V.O.)
                           (voice soft)
                    I know he's been feeling the
                    pressure of office more than ever
                    lately. We've talked about it a
                    great deal.

                                  REPORTER #2 (V.O.)
                    But why would he stab himself?

                                WALTER SULLIVAN (V.O.)
                 That's a question that will haunt
                 me forever. Of course I tried to
                 stop him --
                 -- Alan was like a son to me...

       Luther smiles, takes his coffee, leaves the room as we --

                                                       CUT TO:

347B   INT. KATE'S HOSPITAL ROOM - NIGHT                             347B

       Kate sleeping. Seth stands there now. Luther enters
       with his coffee. Seth sees him and they both move to the
       door and confer silently --

       -- Seth indicates Kate.

       Luther crosses his fingers.

       Seth says something we can't make out.

       Luther nods.

       Seth glances a final time at Kate, then leaves them.

       Luther moves to Kate, studies her face.


)B(    ABSOLUTE POWER - Rev. 5/16/96                               126.

347B   CONTINUED:                                                         347B

                           (eyes still closed)
                    ... was that Seth...?

                    He was just checking in. When
                    you're up to it, he said we might
                    come over for dinner. He                                     *
                    mentioned --                                                 *

                           (eyes half open)
                    I know, he lives alone --                                    *

                    Watch it now.

       He arranges her sheets.

                    ... you don't have to fuss...

                    You were forever catching colds.

       She nods, drifts and we --

                                                       CUT TO:

348    MOON                                                               348

       starting to fall out of the sky now.

349    LUTHER                                                             349

       stands by the window, looking out.       Soon, dawn.   He
       stretches, crosses to her.

                    ... am I going to be all

                           (long pause)
                    We'll be fine.

       Kate nods, drifts.

       Luther watches her.

       Then he goes to his chair --



349   CONTINUED:                                                    349

      -- reaches down --

      -- pulls out his sketchbook.

      He turns the pages.

      Drawings of Kate.

      He turns to a new page.    Starts drawing her again.   He's
      really getting good.

      HOLD ON Luther and Kate.

                                                FINAL FADE OUT.

                                 THE END

Absolute Power

Writers :   David Baldacci  William Goldman
Genres :   Thriller  Crime  Drama

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