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                            THE STUNTMAN
                            Written by 
                        Lawrence B. Marcus
                           Adaptation by 
                           Richard Rush
                         From the novel by
                           Paul Brodeur

                                              THE STUNTMAN
               FADE IN:
               A strip of two-lane highway runs through a tall pine forest. There
               is a truck-stop coffee shop beside the roadway. A few 14-WHEELERS
               are scattered across the big dusty parking lot. Morning sunlight
               glints off their chrome stacks. It bakes the asphalt and warms the
               mangy hides of stray DOGS asleep in the dirt. A HELICOPTER hovers
               about the treetops like a lazy hummingbird. It's the beginning of a
               perfect day.
               A highway PATROL CAR slowly trolls among the trucks and dogs and
               parks beside the slat and shingled building.
               TWO TELEPHONE LINEMEN are scaling a power pole at the forest's edge.
               High on the pole, the linemen lean back against their safety straps
               to work, their bodies forming a "Y." One of them suddenly turns,
               pointing at a nearby treetop.
                                              FIRST LINEMAN
                                   Lookee there!
               He grabs a PORCELAIN INSULATOR from his belt, cocks his arm and
               hurls it across the open stretch. It lands smack in the middle of
               the tree. SQUAWK! A rattle of leaves, a rustle of feathers and a
               HUGE BUZZARD comes flapping out. The lineman cackles over his
               The big, frightened beady-eyed bird is lumbering through the sky,
               flapping for its life and suddenly...SPLAT! It crashes head-on into
          3A   the bubble of the passing HELICOPTER.
          4    INT.   HELICOPTER
               The ship rocks as the PILOT wrestles the controls. There are THREE
               OTHERS in the cabin. The man beside the pilot, ELI CROSS, is
               sketching in a manuscript and eating an apple. He glances up in
                                   Hey, will you stop wiggling?!
                                  Don't yell at me...yell at the
                                  goddamn crazy bird! It tried to
                                  kill us!
                                     (back to his manuscript)
                                  Oh yeah, that's your story. What's
                                  the bird got to say about it?
              Eli bites into his apple, grimacing at the mushy mouthful    He tosses
              it out the hatch.
          5   EXT.   FOREST - TREETOPS
              The apple drops into the trees, bounces down from branch to branch
              and falls on the slanted roof of the ROADSIDE DINER beneath. It
              rolls down the eaves, off the edge and lands on top of the parked
              Highway Patrol car.
          6   INT.   PATROL CAR
                                             FIRST POLICEMAN
                                  Something hit the roof.
                                             SECOND POLICEMAN
                                  So will the Chief...if we don't grab
                                  this guy Cameron.
              They climb out as we see a SECOND PATROL CAR sliding up behind them.
              MORE POLICEMEN emerge from the second car.
          7   EXT.   DINER - ON POLICEMEN
              They huddle, then move toward the diner entrance.     As they pass an
              open WINDOW the CAMERA HOLDS.
              INT.   DINER
              A FRY COOK serves behind the long counter where MEN on stools eat
              watching the overhead TV. There is a PINBALL MACHINE in action.
              The policemen are seen ENTERING b.g. A TRUCK DRIVER ambles up and
              straddles a stool.
                                             TRUCK DRIVER
                                  Gettin' hot early. It's gonna be a
              The fry cook fills the driver's empty water glass from a pitcher,
              then move down the counter.
          9    ANGLE ON CAMERON
               He sits a few stools away. He's about 25, even-featured, bone-
               weary. His appealing face needs a shave. The cook fills his water
               glass. The ice cubes rattle as Cameron's hand trembles. His eyes
               are riveted on the policemen.
          10   CAMERON'S POV
               Two policemen take seats at a booth across from the counter; one
               policeman moves to a WALL TELEPHONE, another stands near the CASH
               REGISTER looking at a magazine. They seem nonchalant, but are
               placed to block all avenues of escape.
          11   ANGLE ON CAMERON
               Suddenly startled as someone slaps him on the arm.       He whirls to
               face the man beside him.
                                  That's really a beaut...really a
               The MAN is staring at the TATOO which shows below the rolled-up
               sleeve of Cameron's shirt, a large American Eagle with elaborate
               scrollwork and a patriotic slogan. The man pulls up his own sleeve
               to show a small tatoo of an anchor.
                                             MAN (CONT'D)
                                  My wife still yells about this...but
                                  yours -- that's some a
                                      (eyes on police)
                                  Yeah, that's the grand old bird.
                                     (a half-smile)
                                  Right now I just wish the son-of-a-
                                  bitch could fly.
               Cameron rises and moves across the diner to the pinball machine.
          12   ANGLE ON PINBALL
               The PLAYER wiggles and contorts, using body English to influence the
                                Hey Morton, you think your ass is
                                connected to the machine? You
                                wiggle, it's gonna make the ball go
                                where you want?
          12A   Cameron's eyes scan the room, passing the TV above the counter. On
                it, the commercial shows a beautiful girl (who we'll later know as
                NINA FRANKLIN) bending over a bowl of dog food. Her ass, too,
          12B   wiggles engagingly. The pinball player leaves the machine.
                Cameron, stalling for time, works the plunger while a cop stalks
                closer; like the cat to the mouse hole.
                                Hey, you're lucky. Somebody left a
                                free ball.
                                Uh huh.
                Cameron shoots. The ball bounces crazily inside the machine, lights
                and buzzers flashing. Another policeman approaches.
                                           SECOND POLICEMAN
                                You got 20,000! You're gonna win...
                                Win what?
                                           SECOND POLICEMAN
                                A free game!
                He rests his hands on the machine, glancing about.    Escape seems
                                           CAMERON (CONT'D)
                                ...that's just what I
                                more chance to lose.
                In a lightning-swift motion, the cop clamps his hands down over
                Cameron's wrists, snapping the HANDCUFFS on. The trap has sprung.
          13    CLOSE ON COP AND CAMERON
                Cameron nods his head in resignation. A big uncontrollable grin
                breaks and spreads over the cop's face.
               Then suddenly, Cameron bolts, desperately springing full speed for
               the back door. He flings it open. The cops are moving toward him.
               One has almost got his gun out.
                                Cameron!   Halt! I'll shoot!
               Cameron lunges through the doorway, not realizing in his frenzy the
               screen door still blocks his path. He tears through it, but gets
               stuck halfway.
                                No!...God, don't shoot!
               Swinging his manacled arms like a club against the tangled mesh, he
               breaks free and runs.
          14   EXT.   REAR OF DINER
               As Cameron flies down the back steps, a COP stationed at the rear
               door, caught off-guard, tries to stop him but is shoved flat on his
               back. Cameron weaves and scrambles across the yard, over fences,
               between the shed and the barn, rolling beneath a building, out the
               other side. Behind him, distant shouts and a gunshot.
               As Cameron runs, he moves with a skill that suggests forests are not
               alien to him. He crouches low, following tiny avenues in the maze
               of tree trunks, scrambling on all fours over needles and fallen
               cones. Sweat pours down his face. His breath rasps in his throat.
               He breaks into a clearing and FREEZES...suddenly face to face with a
               MAN who crouches, blocking his path. It is one of the telephone
               linemen we saw earlier.
          16   WIDER ANGLE
               The lineman, kneeling at his tool chest, is surprised by Cameron.
               The other lineman is halfway up the power pole. They both stare at
               Cameron's handcuffs. Cameron edges back, his escape route blocked.
               The man on the ground grabs a WRENCH and moves forward with the same
               gleam in his eye we saw when he scared that bird from the tree.
                                Stand right there like a good old
                                boy and do what I say. You wanna
                                try and mess with me, you've had
                                fair warning. I was a combat Marine
                                in Korea. Okay?
               The lineman advances on him as Cameron backs away.
                                  Korea? No shit, so was my old
                                     (he suddenly stamps his
                                      foot and shrieks)
               The lineman jumps in surprise. Then, enraged like a startled bull,
               he lunges forward with the wrench. Cameron uses the man's weight
               against him, his moves those of a trained fighter. A hard knee to
               his stomach doubles up the lineman. The handcuffed arms slam down
               like a club between his shoulder blades driving him to the ground.
               A kick thrown sideways to his head and the man is out. The other
               lineman who had started to descend the pole freezes and takes one
               step back up. Cameron grabs the lineman's toolbox in his handcuffed
               grasp and dashes off into the forest.
          17   MOVING SHOT - ON CAMERON
               He slides down a slope on a carpet of fallen leaves, tumbling to the
               bottom and falls face forward into a running stream where he holds
               his head and drinks. CAMERA MOVES ACROSS the terrain. There are no
               pursuers, the forest is silent.
          18   CLOSE UP - HANDCUFFS
               The jaws of a wire-cutter clamp down severing the chain connecting
               the cuffs around Cameron's wrists. He lifts his knee from the
               cutter handle. His arms are now free. He wedges a chisel against
               one bracelet and swings a sledgehammer against it. We hear his
               sharp outcry.
          19   ANGLE ON CAMERON
               Doubled up, holding his wrist in pain. The bracelet is still
               intact. He buttons his shirt cuffs over the metal bands and climbs
               the slope to the bright sunlight on the road above.
          20   EXT.   OLD ABANDONED ROAD - DAY
               Cameron is trudging along the old road winding down through the
               mountainous pass. He crosses a bridge. Through the arches of its
               low stone railing, he sees a BLACK RIVER twenty feet below rushing
               toward the sea. Then, glancing back, he is suddenly alert.
          21   CAMERON'S POV
               In the far distance, almost lost in the shimmering heat waves from
               the road, is a tiny speck moving toward him.
          22   ANGLE ON CAMERON
               He clambers down the embankment behind the railing, peering out from
               this hidden vantage.
          23   ANGLE ON ROAD
               The speck grows larger. The SOUND of the engine is faintly audible
               now. Sunlight flashes from metal and glass. Cameron's apprehension
               suddenly changes to wonderment, for the vehicle is not the police as
               he had feared, but something else. Moving in the shimmering heat
               wave is a splendid, high, humpbacked World War I vintage DUESENBERG
               SEDAN with gleaming brass headlights, roaring towards him.
          24   ANGLE ON CAMERON
               He scrambles up the embankment to thumb a ride. The Duesenberg
               roars past him, filling his eyes and mouth with dust. Suddenly
               there is a screech of brakes.
          25   ANGLE ON CAR
               The Duesenberg goes into a skid and then bounces to a stop.
               Running, Cameron reaches the car, pulls the front door open and
               climbs in beside the DRIVER.
          26   INT.   CAR
                                  Thanks.    I thought you didn't see
               The driver, BURT, is a husky, red-haired man about Cameron's age and
               deeply agitated. Pounding his fist against the steering wheel, he
               talks half to Cameron, half to himself.
                                  Damn it.    Screwed it up.   Lost my
               Fishing a Vick's inhaler from his pocket and shoving it in his
                                           BURT (CONT'D)
                                Goddamn sinuses. Can't even see
               Cameron looks at him, puzzled.
                                You want me to drive?
               Burt whirls on him, enraged.
                                What the hell is that supposed to
                                No offense...thought you might...
                                Every one of you jerks is a goddamn
                                hotshot expert! Thanks for the vote
                                of confidence. If you think you can
                                do any better, just come and try it!
               He puts his boot in Cameron's stomach and shoves hard.
          27   EXT.   CAR
               Cameron comes flying out and lands on his back in the road as the
               Duesenberg squeals forward, its open door slamming shut from the
               Stunned, the wind knocked out of him, Cameron rises to his elbows.
               Before the old relic has gone thirty yards, again the brakes
               screech, swinging the car into a sliding salute turn, one hundred-
               eighty degrees and it is suddenly screaming back toward Cameron.
               INT.   CAR - ANGLE ON BURT
               Driving with one hand on the door handle, his head halfway out the
               window watching the bridge railing and the water beyond.
               Cameron, sprawled on the road, is momentarily paralyzed at the sight
               of the Duesenberg's great brass grill bearing down. His hand closes
               over a rock and with the same illogical gesture that a soldier
               flings a Coke bottle at a tank, Cameron hurls the rock in the
               direction of the car and frantically rolls sideways. The big
               spinning tires brush him as they pass. We catch a momentary glimpse
               of the rock smashing against the gleam of the passing windshield.
               As he stops rolling, once more face down in the dust, eyes closed,
               expecting death, he becomes aware there is only silence. He opens
               his eyes, climbs to his feet. The road is empty. The Duesenberg is
               gone. Astonished, confused -- he walks to the side of the bridge
               where the railing ends and the car might have plunged off. There is
               nothing below but the rushing black water. Here and there bubbles
               swirl to the surface. They could be from a sinking car or could be
               caused by the current.
          30   ANGLE ON CAMERON
               His thoughts racing. Was it the sun, has he imagined the whole
               thing? Suddenly a HELICOPTER appears, hovering, almost at eye
               level. Sunlight flashes through the spinning blades like a strobe.
          31   WIDER ANGLE
               It is the same helicopter we saw in the opening sequence. It has
               swiftly descended beside the bridge just beyond the railing,
               catching Cameron with no chance to run or hide. FOUR MEN Can be
               seen inside the plastic cockpit barely a few feet away. The man
               beside the PILOT is ELI CROSS. He grabs the radio microphone and
               begins speaking into it. Cameron whirls, scrambles down a bank to a
               field. The helicopter drops to within a few feet of the water,
               hovers. Protected from sight, Cameron runs between the tall stalks,
               away from the road.
          32   CAMERON - MOVING SHOT
               Glancing back through the stalks as he runs, Cameron sees a STAKE
               TRUCK barreling toward the sight of the accident. In the back,
               THREE MEN are frantically putting on black wet-suits. They look,
               from this distance, like little black toys tumbling against each
               other. Cameron runs on.
                                              - 10 -
                A few hotels, like a cluster of old Victorian gingerbread, surround
                a sandy cove beyond which is the sea. There is a fishing pier,
                boardwalk, hot dog stands, pizza parlors, all swarming with
                sunbathing TOURISTS. The town's bucolic, turn-of-the-century charm
                might even survive these, if not for a monstrous yellow CONSTRUCTION
                CRANE, which juts ten stories into the sky from the center of the
                sandy cove. Cameron appears on the bluff.
          34    ANGLE ON CAMERON
                Surveying the town -- expressionless, a jungle beast going to
                survive no matter what -- at least for a few more hours. He reaches
                down and rips off his trouser legs at the thigh, turning them into
                cutoffs a vacationing bather might wear. He pulls off his worn
                boots and flings them into the brush, his eyes never leaving the
                town below. There are crowds to get lost in down there. He
                unbuttons his sleeve and looks at the handcuff still encircling his
                wrist. Stopping beside a large rock, he smashes the bracelet
                against it. It won't open. Grimacing in pain, he re-buttons the
                sleeve, opens his shirt and begins descending the palisades toward
                the town.
          35    EXT.   BOARDWALK
                The SCREEN is yellow and on it are the words: 'HAVE A NICE DAY.'
                THE ANGLE WIDENS and we realize the words are on the back of a
                YELLOW HAT that jiggles as its wearer walks. It is Cameron. Beyond
                him we see the tide of tourists in oils and ointments flirting with
                the sun. Teenage girls at portable toilets adjusting their bikinis.
                The boardwalk cops in white shirts, looking like ice cream vendors,
                whom Cameron deftly avoids. Then, he looks up at the sky,
                perplexed: the helicopter from the bridge is overhead, circling.
                Cameron watches it warily as he walks.
          35A   ANGLE ON BOARDWALK
                A BIG CROWD has formed at the railing of the pier. Many of the
                people with CAMERAS CLICKING at the sand below. Cameron notices the
                helicopter is now sharing the sky with a brightly painted open
                cockpit BIPLANE. It is a WORLD WAR I FIGHTER with BRITISH INSIGNIA.
                Cameron works his way through the crowd. All eyes now look upward
                at the plane. A LOUD VOICE is HEARD coming through an electric
                                             - 11 -
                                All right, people. Quiet! We're
                                losing the sun! This is a take!
                                You're welcome to watch, but please,
                                no flashbulbs. They'll spoil the
               Cameron's world has become more ordered again. It's a film company
               shooting on location -- this somehow must explain the Duesenberg.
               His eyes go to the scene below.
          36   ANGLE ON COVE
               A CAMERA RIG suspended from the end of the yellow construction crane
               is PHOTOGRAPHING the surf where EXTRAS in German WWI uniforms
               unload ashore. The bright little plane has started a lazy dive
               toward the soldiers, its engine whining. From here it looks as
               fearsome as Snoopy and the Red Baron.
          37   ANGLE ON THE BEACH
               As the British plane pulls out of the dive, there is a tremendous
               explosion. In the flash of smoke and flame, barge, rowboats,
               ammunition and people are blown sky-high. The smoke from the
               exploding ammunition momentarily obscures the scene.
          38   ANGLE ON CROWD
               The onlookers are very impressed and pleased and then abruptly their
               pleasure turns to horror and disbelief.
          39   ANGLE ON COVE
               As the smoke lifts, the Tom and Jerry violence has become a
               horrifying reality. Bodies are scattered about. One man has been
               severed in half, drenched in blood. Chunks of meat, arms and legs
               litter the beach.
          40   ANGLE ON CROWD
               Paralyzed by the sense of catastrophe.
                                Something went wrong.
               Then, people begin to moan and scream.
                                                 - 12 -
          41    CLOSE ON CAMERON
                Staring tensely at the carnage.      By reflex, a shout escapes his
                                   Medic!   Get the medics!
          41A   A WOMAN sags into a faint.      A small child in the crowd is crying and
                clutching Cameron's leg.
          42    ANGLE ON COVE
                As the scene continues we hear a voice on the Bullhorn.
                                               VOICE (O.S.)
                                   Cut!   I said CUT! That's a print.
                Suddenly the reality of the horror turns into an obscene, absurd
                farce as what appear to be the missing parts of bodies begin
                wriggling out of the sand where the extras were partially buried to
                create the macabre effect and now the extras become whole human
                beings before our eyes once again.
          43    ANOTHER ANGLE
                The crowd reacts in various ways. Sighs of relief, laughter, anger.
                The exhumed extras wipe sand from their eyes and shake it down their
                trouser legs.
                                   Beautiful, Harvey. You gave
                                   everybody a heart attack.
                HARVEY, the Second Unit Director, yells back.
                                   Eli will hate it. He said he wanted
                                   the shot in one? Now watch, he'll
                                   do six hours of pick-ups.
                The crowd disperses.      A TOURIST turns to Cameron.
                                   Great...but why do they always use
                                   so much blood? It ruins the
                                   realism, don't you think?
                                              - 13 -
                                  (still shaken, quietly
               The tourist stiffens as Cameron turns away, his attention now drawn
               by the beating sound of the helicopter. He glances up.
          44   CAMERON'S POV
               The helicopter is descending toward the beach while the FILM CREW
               rapidly moves equipment from the last scene into piles to clear a
               landing site.
          45   ANGLE ON FISHING PIER
               Wary of the men in the chopper, Cameron is moving down the pier away
               from the landing site. Suddenly he stops short, caught by something
               he sees O.S. Excitedly he points and begins to shout.
                               Hey!    Hey you...!
          46   CAMERON'S POV
               Below him, walking away on the sand is one of the actors with the
               same red hair, the same old British army jacket as Burt -- the man
               in the Duesenberg. Hearing the shout, the actor stops and
               tentatively turns. It's a mistake. Clearly the features are
               different. It's not Burt.
               Cameron is puzzled. He watches as the red-haired actor looks about
               to see who called and finding no one, starts off, but is stopped by
               a LITTLE OLD LADY holding a parasol and offering her autograph book.
                                          LITTLE OLD LADY
                               Mr. Bailey! Aren't you Raymond
                               Bailey, the actor? Would you please
                               sign your autograph? Write 'to
                               Emily...for eternal peace.'
               Raymond signs the book with the easy charm of a man who's done it a
               million times. He has those special rugged good looks that belong
               to Marlboro men and movie stars.
                                            - 14 -
                                          LITTLE OLD LADY (CONT'D)
                               I'm certainly glad you're all right.
                               I lost my husband and my son in the
               The sound of the chopper blades has become deafening as it hovers
               for a landing. The Old Lady snatches her autograph book and heads
               for the landing site.
          48   ANGLE ON HELICOPTER
               As it touches the ground and its doors fly open. Out step the
               CREWMEN and ELI CROSS. The ASSISTANT DIRECTOR rushes up and shouts
               over the hissing blades of the idling chopper.
                               What happened on the bridge?!
                                  (deeply upset)
                               All the divers found in the car was
                               the goddamn camera.
                               And Burt?
                               No Burt! All gone...caught in the
                               current probably and...they're
                               diving downstream and searching the
                               riverbanks, but...don't say anything
                               to the crew yet...
                               Jesus Christ.
                               Yeah, Jesus Christ.
                               What do you want to do?
                                              - 15 -
                                I don't my mother and
                                have her tell me it wasn't my
                                ...What the hell could have
               Their words are lost in the sound of the rotor as the chopper slowly
               rises. The sudden WIND from its blades blows some screening off a
               pile of equipment. It falls on the Little Old Lady who has been
               approaching Eli and topples her into the surf. She is trapped in a
               tangle of ancient skirts and petticoats. Before she can regain her
               balance, a wave tumbles her further into the sea.
               Cameron, sitting on the edge of the pier over the water, has watched
               this mini-disaster. The undertow from the wave has swept the Old
               Lady directly beneath him. Reaching down toward her, he yells:
                                Hey!   Hey, give me your hand!
               He can't quite reach her. As a last resort, he drops off the edge
               into the water by her side.
          50   ANGLE ON WATER
               He grabs for the struggling Old Lady.
                                Don't be afraid! You're gonna be
               Like groping through seaweed, he reaches past her tangled skirts,
               grasps her waist and lifts her to keep her head above water. She is
               choking, gasping for air. She turns her face toward him.
          51   CAMERON'S POV
               Her features are distorted; they seem to be melting away. She frees
               her hand and violently tears at her face, pulling away the RUBBER
               MASK on which is the melting putty and make up. With it goes her
               wig and what is left is a startlingly beautiful young girl.
                                       - 16 -
                          My God!
                             (choking on water)
                          You're...I know you...that girl from
                          TV...the actress. Nina...
          The sun glistens on the wet, wild young perfection of her face,
          ingenuously sparkling laughter and for an instant it's breathtaking
          - a universal boyhood fantasy to suddenly be thrown this close to
          that kind of "movie star" beauty. It's something Cameron feels in
          the pit of his stomach.
                          My God!...Why the hell...?
                             (laughing and choking)
                          ...Makeup's for the
          Regaining his composure enough to attempt flattery, but he means it.
                          They gotta be crazy to cover that
                          I'm only old at the end of the
          As they are only in a few feet of water, there is no longer any
          reason to hold her. He starts to put her down.
                          No, don't do that.    Rescue me!
                          In three feet of water?
                          Oh come on, please. I always wanted
                          someone to rescue me from
          Grinning, he carries her toward shore.
                                             - 17 -
               ANGLE ON BEACH
               Eli, surrounded by the crew and dozens of tourists, is standing at
               the water's edge as Cameron wades in and sets Nina down.
                                Nina! You damned near scared me to
               At the sight of Eli, she becomes like a little girl who, having
               skinned her knee and run to daddy, now can allow herself to cry.
                                Oh hell, it's all ruined now and I
                                wanted you to see the makeup, Eli.
                                Where were you?...I even got
                                Raymond's autograph and he didn't
                                know...You'd have been proud...
               Nina is surrounded by people who are rubbing her with towels, taking
               pictures, all shouting at once. The CROWD closes in, excluding
               Cameron to the outskirts.
                                   (to the A.D.)
                                Get her into a tub, then bed...and I
                                want to see her in makeup and
                                costume again before dinner.
               THREE CREWMEN hustle her off, as she searches the crowd for
               Cameron...then spots him.
                                Hey! Thank you! That was really
                                gallant...rescuing an old lady!
               Cameron waves and starts to wander off as they whisk Nina away.
          53   ANGLE ON ELI
               He moves toward Cameron.
                                Wait a second!   I want to thank you,
               As Eli trots up, Cameron tenses, finally facing this man who saw him
               from the helicopter.
                                          ELI (CONT'D)
                                        - 18 -
                          Don't run away.   What is that, a
                          habit with you?
                          Yeah, I also smoke too much.
                          You and Burt on the
                          about telling me what happened?
          Eli begins to stroll along the sand toward the pilings which support
          the pier. Cameron hesitates, but Eli's manner compels him to
                          I don't know. He must've gone
                          crazy. He tried to run me down.
                          Oh?...Why would he do that?
                          ...I didn't ask him why! All I know
                          is he was comin' at me very fast.
                             (quoting an axiom spouted
                              by top sergeants in a
                              thousand boot camps)
                          'You want to get home for
                          Thanksgiving, you better figure the
                          guy comin' at you is tryin' to kill
                          you'...That's one thing I learned
                          from the gooks.
                          Gooks?...That has a nostalgic
          They have reached the pier.   Eli stops, he is watching something
                                     ELI (CONT'D)
                          You guys really used to call them
                          gooks? I thought that was just Time
                                            - 19 -
                               That was 'Nam. What should I call
                               'em, WOPS? Nobody'd known what I
                               was talkin' about.
               He turns to follow Eli's gaze.
          54   CAMERON'S POV - POLICE CAR
               A POLICE CAR has driven onto the beach. From it, THREE OFFICERS
               have emerged. They are armed and efficient looking. The PRODUCTION
               MANAGER moves to greet them. Eli takes Cameron's wrist and gently
               pulls him back into the shadow of the pilings, (privately reacting
               to the handcuff he feels beneath the shirt). JAKE, the Chief, is
               irate enough to be clearly heard from this distance.
                               All right, this time you've had it!
                               Where is he?!
                                          PRODUCTION MANAGER
                               Chief, I'm glad you dropped by. Eli
                               says you gotta do something about
                               all these people on the beach.
                               Thirty minutes is what you've got to
                               get your goddamn equipment off this
                               beach and out of town!...You tell
                               Eli Cross if your men are on the
                               streets after four o'clock, I'll
                               throw their ass in jail!
               Eli squats down on his heels and leans back against a piling,
               smiling up at Cameron.
                               Speaking of jail...would you get
                               upset if I asked how many cops were
                               after you?
                                  (suddenly grim)
                               What are ya talkin' about?
                                       - 20 -
                          Your I.D. bracelet...the look on
                          your face...the way you ran from the
                             (with exaggerated delicacy)
                          I...don't suppose you want to tell
                          me what you did.
          Cameron studies Eli, not knowing what to make of him.
                          No...I don't.
                             (brightly, with humor)
                          ...Could I try categories?
          Cameron half laughs despite himself.
                                     ELI (CONT'D)
                             (glancing O.S.)
                          Ever done any stunt work?
                          How'd you like to be a stunt man?
                          You look like you're in pretty good
                          shape, fast on your feet. You could
                          do it.
                             (getting to his feet)
                          Besides, You're not gonna have much
          WIDER ANGLE
          Jake has spotted them and is approaching with his men and the
          Production Manager. Eli puts his hand on Cameron's shoulder and
          steps out into the sunlight.
                             (softly, to Cameron)
                          Now, don't get hasty. And, remember
                          your ass, it's just like mine...
                          maybe I can save them both.
                                       - 21 -
                                     PRODUCTION MANAGER
                             (trailing after Jake)
                          ...but we've gotta have three days
                          to finish this picture...
                             (striding toward Eli)
                          You said you'd be gone four days
                          ago, before the season started. You
                          lie, break promises...
                             (he is now close enough
                              and shouting at Eli)
                          Cross, I've gone out of my way, but
                          this time...
          A TRAM beeps, clangs and passes between them, interrupting Jake and
          leaving him sputtering. As it departs, Eli seizes the moment.
                          Jake, it's been a rotten morning.
                          You're hot and tired. Let's go in,
                          have us a drink and find out what's
                          eating you.
                             (turning beet red)
                          Don't treat me like these other
                          morons! You know goddamn well
                          what's eating me is that Duesenberg
                          on the bottom of the river with the
                          dead man in it!
          There is silence. Eli stands thoughtfully kicking the sand with his
          toe. Then Jake starts shouting again.
                                     JAKE (CONT'D)
                          I mean, that is a goddamn public
                          bridge and a public river! You go
                          there without permits, without any
                          precautions and get a man killed!
                          No more bullshit explanations. Just
                          go...before I figure out how to hang
                          you with a manslaughter charge!
                                       - 22 -
                             (after a pause; quietly)
                          No explanations...don't have any.
                          But, maybe he does...
                             (staring at Cameron)
                          Go ahead, ask him, Jake.
          Eli's words are exploding in Cameron's mind -- that illusory event
          on the bridge has crystallized into hard reality.
                          ...Now wait!...You're not blaming me
                             (wheeling on Cameron)
                          Why not, Burt?! Because you're a
                          fake?! Because you're just a
                          goddamn daredevil with a head full
                          of marbles?!
          Cameron vaguely understands that Eli is trying to pass him off as
          Burt and that he, somehow, may be saved by going along with this
          madness. Eli, turning to Jake, continues passionately...
                                     ELI (CONT'D)
                          He grabs the bread, blows the shot,
                          screws you up...screws me up. He's
                          dumb, Jake, but thank God, he ain't
                          dead yet. So do me a favor, put
                          your handcuffs on this son-of-a-
                          bitch and put him some place where
                          he can't get hurt!
          The Chief is dazed. If this is Burt, the stunt man, he is obviously
          alive. Jake goes to Cameron.
                          How did you get out of the car?
                          He didn't get out. Our divers got
                          him out...and brought him back in
                          the chopper.
          The Chief stares at Cameron. His clothes and hair are wet. There
          is a small bruise on his cheek from when he fell out of the
          Duesenberg. He looks the part. Jake turns to Eli with resignation.
                                       - 23 -
                          Cross, when these three days are up,
                          I'm going to arm my men with
                          shotguns and tell them it's open
                          season on any fruit carrying a
          He walks to the waiting police car, surrounded by TOURISTS snapping
          pictures. He glares at them, angry at the world. Eli puts his arm
          on Cameron's shoulder and leads him through the dispersing crowd
          toward the hotel. Eli is now easygoing and friendly.
                          You did that very well.
                          I didn't get a chance to say a word.
                          I just listened.
                          There are only a few actors in the
                          world who have mastered that art.
                          Anyway, it was a good audition. You
                          landed the part.
                          How? What about the crew? They
                          going to look at me and say, 'Hi,
                          Unless you prefer, 'Hi, Elizabeth.'
                          Don't worry about my crew, they'll
                          call you anything I want 'em to.
                          Look, I'm not being callous. Burt
                          is a fucking tragedy, but there's
                          nothing in the world I can do about
                          it...I've gotta have this location
                          for three more days...and you need a
                          place to hide.
          They have reached the steps of the HOTEL. A BUS has stopped in
          front. TOURISTS are piling out. The POLICE CAR pulls up and parks
          nearby. Jake and his men can be seen surveying the crowd.
                             (shouting in b.g.)
                          Eli! The crew's waiting.   We need
                          the next setup!
                                       - 24 -
                          The hand! Close-up of the hand!      Be
                          there in a minute!
                          An Eli minute or a real minute?!
          Eli turns back to Cameron as they mount the steps.
                          By tomorrow the local cops'll know
                          what I look like. I can't hang
                          "Burt," stop worrying! Haven't you
                          heard of "movie magic?"
                             (pointing to the etched
                              glass doors of the hotel)
                          That door is "the looking glass,"
                          and Wonderland. You're
                          gonna pose as a stunt man, who's
                          posing as an actor, who's posing as
                          a character in a movie...who's
                          posing as an enemy soldier...In that
                          big a crowd, who's gonna notice you?
                          People like to believe in things and
                          cops are just people.
          The have reached the front door.   Eli holds it open for Cameron.
                             (with mock confidentiality)
                          Frankly, your problem's so simple,
                          it's almost beneath me. Have faith,
                          'Alice.' Close your eyes and enjoy.
          In exhaustion and resignation, Cameron nods and wearily closes his
                                     DENISE'S VOICE
                          Open your eyes...and don't touch.
                          It's wet.
                                              - 25 -
                His eyes open. He stares at his face in the mirror, pleased at the
                subtle transformation. His hair has been cut shorter and dyed red,
                somehow changing his whole aspect. He rubs the red mark on his
                wrists where the bracelet has been removed.
          56A   WIDE ANGLE
                Part of the laundry room is being used for the film's Hairdressing
                Department. Cameron sits in a barber chair wearing a plastic apron,
                surrounded by dryers, wigs, etc. In b.g., washing machines churn
                constantly. DENISE, the Hairdresser, an attractive earthy woman of
                thirty-two, stands over him. He is still wary and trying not to
                show it.
                                    (looking in mirror)
                                 ...Could be worse...could be
                                 green...I think I like it.
                                 Of course you like it...ask
                                 anybody... Denise gives great hair.
                                 Got any grass?
                                    (shaking his head)
                She touches his hair to test the dryness, holding her hand there for
                a moment longer than seems necessary. He grins at her, rises and
                crosses to the wall mirror to get a better look.
                                 What else don't you have that I
                She moves to a basement window and gazes out.
          57    POV - BEACH
                Through the window, the crew is setting up a shot while Eli
                rehearses with Nina and his red-haired male star, RAYMOND BAILEY,
                (who Cameron earlier saw on the beach). Bailey is dressed as a
                World War I British aviator and Nina as a young girl of that era.
                                            DENISE'S VOICE
                                 Our male star isn't going to like
                                          - 26 -
                             (moving toward window)
                          Why not?
                          You're too good looking. His idea
                          of a perfect stunt double is two-
                          hundreds pounds of hamburger in a
                          red wig...
          He studies the view, his attention focused on Nina.
                          What's she like? I've seen her on
                             (irritated by his
                              interest in Nina)
                          At selling douche powder, she's
                          fabulous; dog food?...I'm not sure
                          she's sincere.
                          What are you sore about?
                          I'm not sore. Isn't that what you
                          wanted to know?
                             (with sarcasm)
                          ...Or did you mean, what's the real
                          Nina Franklin like--without the
                          greasepaint and tinsel...
          Moving to a pile of laundry heaped on the floor, she pokes around
          with the toe of her shoe.
                                     DENISE (CONT'D)
                          ...You mean, what's she like --
          Snaring a crumpled garment, she kicks it toward Cameron, who catches
          it instinctively, then holds it up for inspection -- a pair of
          (Nina's) lace panties. He grins, mildly embarrassed by the charade.
                                                - 27 -
                                              DENISE (CONT'D)
                                      (moving toward him)
                                   What do those say about the girl who
                                   wears them? Shy? Delicate?
               She reaches for the panties, but instead takes his hand and yanks
               sharply, pulling him off balance, falling back on the laundry pile
               with Cameron on top of her, their faces inches apart; surprise on
               his, amusement on hers.
                                              DENISE (CONT'D)
                                      (touching his hair)
                                   Still wet...very wet.
               Cameron is trying to remember: what was it Eli said? "Close your
               eyes, relax and enjoy." Across the room the washing machines churn,
               whirl and heave.
          59   EXT.   BEACH AREA
               Eli and his crew are shooting a scene: a "pick-up" shot for the
               explosion sequence we saw earlier. Eli and GABE, the cameraman, are
               lying beside the camera. Before them, the "severed" arm protrudes
               from the sand in which its owner is buried, out of sight.
                                   You sure he can breathe?
                                      (a mumbling assent from
                                       beneath the sand)
                                   Where's Raymond?
                                      (Raymond kneels beside
                                   Remember, you just
                                   were wandering the beach behind the
                                   German lines looking for a place to
                                   hide when you saw the explosion.
                                   You're stunned by the carnage. That
                                   bomb was dropped by a guy in your
                                   squadron. Okay? Roll the film.
          60   POV THRU CAMERA
               Through the CAMERA, WE SEE the 'arm' protruding from the sand. We
               HEAR o.s. VOICES yelling: "Turning"... "speed"... "action." We see
               the fingers begin to move spasmodically. Eli's voice yells: "Okay,
               Suddenly the fingers on the hand start to swell, bigger and
      a rubber glove filling with air...then BANG! BANG!
               BANG! The (balloon-covered) fingers EXPLODE.
                                             - 28 -
          61   ANGLE ON BEACH
               Everyone has broken up with laughter at the prank, including Eli.
               Gabe is patting Eli's face, Raymond squeezing his jaw affectionately
               as one would a pet dog's.
                                Gotcha that time! Didn't we?
                                   (through his laughter)
                                Yeah, you got me another half-hour
               Eli climbs to his feet as the laughter subsides. Cameron, now
               wearing a uniform exactly like Raymond's, watches from the
                                   (gently, grinning)
                                Thought the chief could use a little
                                cheering up today.
                                   (turning quiet and
                                ...So you heard the news about
                                Any more word?
                                Afraid not...there's no picture ever
                                made that's worth it.
                                   (shaking his head)
                                I'll never understand why these guys
                                do it -- take the chances.
                                             - 29 -
                                Don't know. Trying to beat the
                                system, I guess...we all know that
                                some day we're gonna die of nothing
                                more important than wrinkles...and
                                that makes us so scared and crazy,
                                we'll do anything. Go off
                                bridges...fight windmills...wars...
               There is great sadness among them.     Eli breaks the mood lightly.
                                           ELI (CONT'D)
                                That's what our film's about -- or
                                didn't you know?
                                   (sees Cameron)
                                Hey, Burt, come over here.
               Cameron crosses to them. He and Raymond stand appraising each
               other, red-haired men in identical uniforms. As Raymond offers his
                                   (to Eli)
                                My new cock and balls?
                                Not new...It's important not to let
                                that get around as yet. So, for the
                                time being, let's make like he's the
                                same guy.
                                   (adding a touch of color)
                                But no longer known as "Bad-assed
                                Burt." Ever since his 'fortunate
                                rescue,'...we call him "Lucky."
               CHUCK BARTON is a tall, rugged-looking man in his mid-thirties, the
               Stunt Gaffer on Eli's film. A MESSENGER trots up and presents a
               receipt book. Chuck sets down his stunt bag and signs it absently.
                                Your film from that camera in the
                                Duesenberg's on the way to the lab.
                                Put it on the plane with my own
                                little hands.
                                       - 30 -
                          When do we get it back?
                          Don't know. Stamped it "rush."
                          If I stamp "rush" on my mare's ass,
                          she'll still take eleven months to
                          foal. Call the lab and find out
                          I lost a man today. I wanna see
                          that footage and find out why.
          As the Messenger leaves, Chuck strolls over to where Cameron stands
          waiting, circles around him, sizing him up. Cameron is no longer
          wearing the uniform, but now is in jeans and a work shirt.
                          Done any stunt work?
                          Not really.
                          Not really?   You have or you
                          I got out of Vietnam in one piece.
                          Let me tell you that wasn't a bad
                          That's ancient history.
                          Seems like yesterday.
                             (pointing at church
                          Could you jump from that tower to
                          the that roof?
                                              - 31 -
               Gauging the fifteen-foot gap between the CHURCH STEEPLE and the roof
               of the nearby MUNICIPAL BUILDING. He unconsciously grimaces at the
               four-story drop between them.
                                  (being glib)
                               Once, to save my ass, I jumped out
                               of a banana tree into an oxcart full
                               of buffalo shit. Does that count?
                               We'll see.    Put these on.
               He throws Cameron some knee pads from his stunt bag and begins
               marking off two lines on the bare earth between the gravestones in
               the churchyard.
                                  (puzzled by the pads)
                               Where do they go?
                                  (tapping his knee)
                               Under the pants.
                                  (pointing to lines he has
                               I want you to jump from
               Cameron hops up to the starting line, finishing with the knee pads
               clumsily, surveys the distance of not more than seven feet.
               Makes a casual jump, landing on the line and looking at Chuck for
                               Very good. Except you're dead!!
                               Your brains are scattered all over
                               the goddamn pavement. You landed on
                               the edge and fell backwards four
                               stories. Where do we send the body?
                                       - 32 -
                             (returns to the starting
                          Don't bury me yet.
          He takes a running start and leaps hard.    While he's still in mid-
          air, Chuck yells.
                          You're still dead! You fell over
                          the other side of the building.
          Cameron has landed three beyond the mark and looks up at Chuck a bit
                                     CHUCK (CONT'D)
                          You wanna try it right, once? You
                          should land in a tuck-and-roll.
                          Show me, sergeant.
          Chuck launches himself head-first. His hands touch the ground just
          beyond the second mark to break his fall, easing him into a shoulder
          roll, he somersaults to his feet.
                          Very fancy.
          He takes a running start and does the same.   Not quite as well, but
          well enough. As he rolls to his feet:
                          My speciality is Hopscotch.
          Chuck turns on him enraged, overreacting.
                                              - 33 -
                                And Burt's specialty was drowning.
                                You know one goddamn daredevil on
                                this picture was enough! What the
                                hell was Eli thinking, giving me a
                                smart-ass, cocky, amateur kid when I
                                need a stunt man! It's a little
                                different running across that roof
                                when they're pumping tracer bullets
                                over your head.
                                   (eloquently pleading his
                                I was running for twenty-six months
                                with guys shooting at me...not over
                                my my head and I'm alive.
                                I knew daredevils. I got nothing
                                against's just they're all
                                dead. So ease off and give me a
               Cameron is surprised to see that Chuck is grinning.
                                           CAMERON (CONT'D)
                                Hey, were you putting me on?
                                Me?   I wouldn't know how to do that.
               Chuck starts to walk away, then stops and looks at Cameron.
                                Can you imaging Eli doing a World
                                War I picture without horses? Do
                                you know the gags I could do with
                                four runaway horses pulling a
               Cameron sailing into the SHOT. Chuck ducks slightly, catching
               Cameron on his back and flipping him into a somersault. Cameron
               lands on the sharply slanted slate roof of the municipal building.
               Chuck stands beside him straddling the peak. The church steeple can
               be seen in b.g. (and we now realize time has passed and we are no
               longer in the graveyard of the previous sequence, but atop the
                                             - 34 -
                                           CHUCK (CONT'D)
                                ...Next time hit me higher.
                                   (climbing to his feet)
                                What's Eli got against horses?    I
                                love horses.
                                Don't butter me up.
                Cameron goes running at Chuck and once again flies over his
                shoulder. Sprawling on the slippery slate, he looks up to see Chuck
                strolling down the hazardous incline like a mountain goat. Cameron
                scrambles to follow.
                                   (as he walks)
                                We'll draw a sight line for you to
                                follow down the roof here, while
                                you're rolling. Now there's nothing
                                very difficult. But this is where
                                you gotta think. Your mind can't be
                                on snatch. It's gotta be on
                                grabbing that gutter.
                They have reached the lower edge of the roof.    Cameron looks down at
                the drop.
                                Or my brains are all over the
                                pavement again, right?
                                   (walking away)
                                You know a good falling horse makes
                                more money in four minutes than a
                                bank president does in a year?
                                Picture's not over. Maybe you'll
                                still get your chance.
                Chuck has stopped and they peer down through a skylight to where the
                crew is setting up a shot in a room below.
                                Naw, all they care about is story.
                                             - 35 -
               They move to another edge of the roof overlooking a NARROW CENTRAL
               COURTYARD. They gaze down at a WINDOW AWNING two stories below that
               juts from the side of the building-wing across the court.
                                           CHUCK (CONT'D)
                                Now here's where the scuffle ends.
                                When the pipe breaks loose, you fall
                                and hit that awning. Then Eli yells
                                "cut" and old Raymond takes your
                                place for the close-ups and the
                                glory. That's where the German
                                soldiers catch him and throw him in
                                the nuthouse. They're shootin' that
                                scene downstairs now.
                                   (staring at awning)
                                That's supposed to hold me?
                                Probably doesn't hold rain.
                                It's not a real awning, it's a
               Cameron's face is beginning to sweat and the veins are bulging from
               the growing strain of some physical effort.
                                           CHUCK'S VOICE
                                It's no harder up here than it is on
                                the ground...
               CAMERA PULLS BACK to reveal Cameron dangling from a section of rain
               gutter, four stories above the ground.
                                           CHUCK'S VOICE (CONT'D)
                                It's the same's just a
                                little scarier. And that's what you
                                get paid for.
                                Yeah, how much?
                                You're stealing candy with this gag.
                                You get six hundred bucks.
                                   (almost falling)
                                             - 36 -
                                ...Christ! Watch it, will ya?
                                   (helping Cameron onto
                                What did you think a stunt man is?
                                He's a professional. If the camera
                                jams, that's another six hundred and
                                if Eli says "try it again," six
                                hundred more.
                                Yahooo! Six-fucking-hundred-bucks!!
               In a large vacant hall on the ground floor of the municipal
               building, a movie set has been erected representing the ward room in
               a World War I military asylum. In it, Eli's crew is filming a
               sequence -- a dozen enraged INMATES in tatters, heads shaven, wild-
               eyed, advance toward Raymond, shrieking (as though in echo of
               Cameron's exultant yell).
          67   CLOSER ANGLE
               Raymond, dressed as a British Flyer, his face bloodied, crouches and
               retreats in terror, a man caught in a nightmare, as these mutilated
               derelicts suddenly swarm over him. One, like a mad dog, goes fro
               his throat, another wields his own artificial limb as a club.
               Raymond (in character) breaks free and screams.
                                ...STOP!...Get away!!
               For an instant, the inmates stop in stunned silence -- broken only
               by a distant shout overhead.
                                           CAMERON'S VOICE
                                    (on the roof overhead)
                                ...Six-fucking-hundred, gorgeous,
                                beautiful dollars! I can't believe
               The slavering madmen look up, then out at the camera, madmen no
               longer, simply bewildered actors.
                                          ELI'S VOICE
                                All right. Hold it! Hold it!
                                       - 37 -
          ANGLE ON CREW
          Eli stands amidst the camera crew photographing the scene.   He is
          waving for order.
                          ...Save it, everybody.
                             (storming in)
                          Jesus Christ, what the hell was
                          that? Somebody get their ass up on
                          that roof...
                             (cutting him off)
                          ...Never mind. I didn't like it
          As Eli steps down from the DOLLY, a solemn, quiet man approaches him
          from among the onlookers. It is SAM BAUM (the writer).
                          What's wrong?
                          The scene's wrong.
                             (yells to the A.D.)
                          Call a break.
          The A.D. Calls "Five minutes" and the crew moves toward the coffee
          urn. Eli wanders toward the door, Sam pursuing.
                             (fighting for his scene)
                          Eli, it played like a dream.   My
                          God, it was Marat-Sade.
                          It played like shit!
                                             - 38 -
                                Well, who was that on the phone in
                                the middle of the night when you
                                first read it, raving about the
                                magical madhouse scene, the upstairs
               Eli rips the page with the "madhouse scene" from his screenplay as
               they stride out of the building.
          69   EXT.   MUNICIPAL BUILDING
               There, beside the rear entrance on a pile of construction sand, sits
               Eli, cross-legged, staring morosely at some kids who play nearby.
               He is absently folding a torn script page into a paper airplane.
               Behind him, at a respectful distance, stand the Production Manager,
               A.D., half a dozen assorted crew chiefs and Sam Baum, all looking
               concerned. Sam looks at the others, shrugs and approaches Eli,
               squatting beside him on the sand pile.
                                What do you wanna do, Eli?...
                                They're all waiting.
               While Sam talks, Eli takes a fistful of sand and pours it in Sam's
               shoe. Suddenly noticing, Sam yanks his foot away.
                                           SAM (CONT'D)
                                Being childish isn't going to help
                                your movie...You know, there's
                                nothing wrong with the story.
                                   (removing his shoe and
                                    shaking the sand out)
                                The real problem is since I wrote
                                this thing two years ago, you've had
                                Watergate, the energy crisis,
                                Women's Lib, the economy is down the
                                tubes...You want to talk about
                                burning issues?...There's arsenic in
                                the glue on the back of food stamps!
                                That's why you don't like the
                                "madhouse scene." Your goddamn war
                                story has lost its relevance.
                                Don't be negative, Sam. We can
                                start a new one in time for the
                                             - 39 -
               Sam has finished replacing his shoe and Eli pours a fistful of sand
               into Sam's other shoe.
                                Cut it out, will ya?
               Eli is at the head of a long table, CAMERA PULLING BACK TO REVEAL a
               dozen members of the company dining with him. Nina sits beside Eli
               listening with rapt attention to Sam's monologue, her dessert fork
               sensuously lingers at her lip.
                                Two years ago you were all charged
                                up to make a great big anti-war
                                statement and they wouldn't let you.
                                Now they let you, but you haven't
                                got a war. What you've got is egg
                                on your face because Vietnam's long
                                gone and it's too late!
                                Our picture's not about fighting
                                ...It's about fighting windmills.
               The truth in Eli's statement registers on Sam. Cameron sits farther
               down the table, watching Nina watch Eli...and wishing she were
               watching him.
                                War isn't the disease...It's only
                                one of the symptoms.
                                What's the disease?
                                       - 40 -
                          That's the big question, Sam. Name
                          the disease and you've licked the
                             (indicating Cameron)
                          Ask him. 'Cause he knows what the
                          film is about. Right Lucky? Tell
                          'em...How'd you like Vietnam?
                          How'd you like bubonic plague?
                          You drafted?
                          See, Sam? Here's another one who
                          hates war...but he enlisted.
                              (to Cameron)
                          You fought in Vietnam for two years?
                          ...I mean actually were out there
                          killing people...
                          ...Hey, I didn't kill that many
                          Don't be modest, Lucky. Everybody
                          digs a little violence...What was
                          that you said on the beach?
          Cameron is starting to bristle at Eli's needling, particularly with
          Nina watching.
                          About what?
                          About getting home for Thanksgiving?
                          ...that you better figure the guy
                          coming at you is trying to kill
                                         - 41 -
                            Yeah. See, Sam?...That's what the
                            disease is about...being scared
                            shitless. Inventing enemies.
                            Whistling in the dark. I wish you'd
                            talk to the kid, Sam, I mean it.
                            You know, really, you guys should
                            room together.
                               (getting the last word)
                            Hey, Lucky, give me your cot by the
                            window and I'll let you read a great
                            madhouse sequence.
          They all laugh.
                            All right, Eli. I'll write you
                            another scene. What difference does
                            it make? The studio will cut it all
                            out anyway and what you got left is
                            a lot of swell battle scenes, which,
                            when I was back there they said were
                            "just terrific."
                            No, they won't.
                            Yeah, what makes you different?
                            Because they know if they cut my
                            picture, I'll kill 'em.
          The deadly in Eli's voice was more than intended and there is
          suddenly an awkward silence at the table. Cameron eyes Eli with a
          wry smile.
                            You mean, bang? Kill 'em, just like
                                          - 42 -
                                (matter of fact)
                             No. I'll kill 'em and eat 'em...I
                             hate to waste anything.
                             They call him "Eli the Terrible..."
                             Sam, my picture is the only kid I've
                             got! If the studio said your
                             daughter, Jennifer, would look
                             better with her fingers chopped off,
                             what would you do?
                             Being an insecure writer, I'd call
                             my agent...and get another opinion.
          Everyone laughs.
          Jake, the Chief of Police, is seen in the background approaching the
          table. Cameron spots him and starts to rise.
                             ...If you'll excuse me...
                             Don't go away, Burt.   I want you.
                                (broad welcome)
                             Jake! Long time, no see. You taken
                             care of my problem with the beach?
                             I'm not talking to you.
                                (to Production Manager)
                             I understand you got that film out
                             of the Duesenberg...
                                (cutting in)
                             It's at the lab, Jake.
                                            - 43 -
                               I'm talking to this gentleman.
                                  (to Production Manager)
                               We want to see it.
               Cameron, realizing the film might disclose his presence on the
               bridge, reacts with alarm, which increases as Eli says...
                               Tell the Chief it's our pleasure.
                               Soon as it gets back...but ask him
                                  (choked up with its
                               You can tell your Mr. Cross this
                               inquiry comes from a source so high
                               it is not his to question...
                                  (now at a loss for proper
                      is his to do it, or else.
                               Someone they're looking for may have
                               been on that road when the car went
                                  (to Cameron)
                               Burt, you see anybody?
               Then, suddenly noticing something different about Cameron's
                                          JAKE (CONT'D)
                               Hey, did you have red hair
                                  (indicating Denise)
                               She sprays it every day so I look
                               like Raymond...I didn't see a soul.
                                  (to the rescue)
                               Tell the Chief that Burt was so busy
                               being brilliant, he wouldn't have
                               noticed Jesus Christ walking on the
               Jake pulls a PHOTOGRAPH from a manila envelope and hands it to
          71   INSERT PHOTOGRAPH
                                             - 44 -
               A wire photo, front and side views of Cameron, taken at his military
               induction. War ages a man...he looks younger and quite different in
               his GI Haircut.
                                          ELI (V.O.)
                               Hey, Burt! You got it upside down.
                               The eyes go on top.
          72   ANOTHER ANGLE
               Cameron hands the photo back to the Chief, who passes it around the
               table. Denise receives the photograph, studies it and glances up at
               Cameron, expressionless. He returns her gaze.
                                          JAKE (V.O.)
                               A couple of telephone linemen say
                               they saw him headed this way.
               Eli takes the photograph.
                               Looks like a nice clean-cut kid.
                               I know about fifty guys who don't
                               think so.
                               What'd he do?
                                  (to Production Manager,
                                   ignoring Eli's question)
                               The minute that film gets here you
                               give me a call.
                                  (yawning and rising)
                               I don't know about those fifty guys,
                               but I know one weary guy who's gonna
                               crawl upstairs and hit the sack.
               Eli looks at Cameron with grudging admiration.
                               I know a weary guy who's driving to
                               Cape Long to dance and booze all
                                             - 45 -
                                   (camping, takes Gabe's
                                I know a weary gay who's going with
               They mince off (the fag act all the more amusing because of
               Raymond's strictly masculine looks). Eli shouts after them.
                                So long as you're back in ninety
                                minutes. It's a work night for some
                                of us.
                                ...Those who give a shit.
               Raymond "gathers" Nina along the way, wrapping his arm about her
               shoulders -- Cameron watching silently. Then, charging from across
               the dining room like a tanker steaming in their wake, comes a
               gushing, overwrought, blue-rinsed MATRON.
                                Miss Franklin! Miss Franklin! Your
                                'Feminique Spray' commercial is on
                                TV. My God, it's simply heavenly!
               Drawers are slamming open and shut as Cameron hurriedly stuffs his
               few belongings into his pockets.
               WIDER ANGLE
               It's a mean little bedroom, with Sam's clothes, typewriter, etc., in
               evidence. Seeing Sam's wallet, Cameron pulls a wad of money from
               it, at the same time accidentally knocking Sam's false teeth off the
               dresser. He hesitates, then stuffs back all the bills but a twenty.
               He strides to Sam's closet, pulls out shirt and slacks, stuffs them
               in a cloth beach bag, also belonging to Sam and starts out the door.
               Then he stops, gets on his hands and knees, looking for the false
               teeth, which he finally finds. Now, annoyed at himself for being a
               "nice guy," he throws them carelessly on the dresser and quickly
                                                - 46 -
          74    EXT.   HOTEL - LATER THAT NIGHT
                As Cameron moves down the steps, the returning company STATION WAGON
                pulls to a stop in the driveway. Nina, Raymond and a few others
                emerge from the car. Cameron turns away so as not to be seen as
                they pass him on the steps heading for the entrance.
                                   Bet they're looking for that nut who
                                   killed all those campers in Montana...
                                   ...Too many campers, weed 'em out!
                                   ...Imagine, sitting an hour at a
                                   We should have waited, it wouldn't
                                   have been an hour.
          74A   They've entered the hotel. Cameron continues to the bottom of the
                stairs, hesitates, looking back at Nina.
          75    CAMERON'S POV
                Silhouetted through the etched glass doors (on the other side of
                "The Looking Glass") he sees the lithe, gay, exquisitely beautiful
                figure of Nina -- light sparkling from the cut glass dances about
                her face -- a hauntingly romantic image.
          76    ANGLE ON CAMERON
                He watches for a moment with hopeless longing. Finally, turning
                from her, he looks about at the dark water and deserted boardwalk.
                There come some of Eli's crew, laughing, joking, cutting a swatch
                through the stillness, pushing their heavy brutes toward some nearby
                spot to light a night shot. There's the CHURCH TOWER. He stares at
                it, wavering in his resolve to leave, wondering what would happen
                                              NINA'S VOICE
                                   What next? Do you rescue the maiden
                                   from the tower?
                She has come up behind him, unnoticed.    He turns, startled, and
                there she stands.
                                         - 47 -
          For a moment they search each other's eyes -- for intentions.   Then
          she glances at the tower.
                          Yes. It does look pretty high.
                             (with concern)
                          Are you worried about tomorrow?
          Cameron's mind is racing over all the things he'd like to say so she
          would know him instantly. But his answer is simple and sounds
                          Not much. I guess if there were any
                          real danger, Eli wouldn't let me do
                          it, would he?
                             (quickly, reassuring)
                          No. I'm sure it's safe.
                             (abruptly, with a boyish
                          Good. Then you jump.
          She understands the slightly jealous rebuke for her blind faith in
          Eli. Her laughing answer hangs like a challenge.
                          Well, come on.
                             (willing, but flustered)
                          What, right now?
          For a moment he weighs it: whether to "run" or stay. Then acts on
          his decision. Starting to laugh, he takes her hand and pulls her
          toward the tower. She holds back, struggling playfully.
                                             - 48 -
                                           NINA (CONT'D)
                                Wait, I'm afraid of heights!   What
                                if I freeze up?
                                   (pulling her along)
                                Don't worry, I'll give you a push.
                                Isn't that what a pal's for?
          77   INT.   BELL TOWER - NIGHT
               It is crowded with bells, a small walkway and railing surrounded
               them. The city lights are seen beyond. Below are the sheds where
               crewmen are preparing the next day's shooting. Just beyond is the
               overwhelming silhouette of the huge CRANE. Nina and Cameron reach
               the top of the stairs winded and laughing, as they rush to the
               railing and lean over. Nina gasps, clutching Cameron in genuine
                                Oh, my God! It's terrifying! You
                                can't jump from'll get
                                killed! It's crazy!...
                                ...It's not that bad. It looks
                                worse at night... Chuck says it's
                                like robbing a candy store.
                                   (getting angry)
                                Now stop that! ...I'm going back.
               She whirls to go.   He stops her, taking her by the shoulders.
                                ...What's wrong?
               Her concern for him has turned to anger, like a mother slapping her
               child for running in the street.
                                It's just strut around
                                trying to talk brave...
               His arm still restrains her. She takes hold of it, then suddenly
               softens with a look of slight surprise.
                                           NINA (CONT'D)
                                              - 49 -
                       are scared...aren't you?
                                Not really.
                                Yes.   You are...You're trembling.
               After a moment, he answers quietly.
                                So are you...and you're not even
                                gonna jump.
               It's true. She is trembling and so is he -- not from fear. He
               slowly draws her toward him, her mouth reaching up to his. And then
               they are devouring each other. Abruptly, they're illuminated by a
               fierce blast of white light. They separate and stare, blinking in
               shock and confusion.
                                           ELI (V.O.)
                                Okay, hit two and three.
               They are pinned in the crossbeams of two more giant arcs. Quickly
               she yanks him down with her out of sight behind the railing.
               Eli is lounging in the bucket suspended from the crane.   Beside him
               Gabe adjusts one of the giant brutes.
                                   (business as usual)
                                I could kill this brute and fill
                                with juniors. You'd get a halo
                                around the tower.
                                   (struggling to resist)
                                Got no's an establishing
                                shot...two seconds on the screen.
                                   (giving in)
                                ...You got six minutes.
               Gabe smiles, scurries off. Eli glances at the tower, grins, having
               toyed with them long enough, he yells.
                                               - 50 -
                                Hey! While you're up there, be
                                useful. We're lighting. Stand up
                                and look towards the sea so you're
                                in profile!
               As Nina's arm raises into view with the middle finger extended.
                                           NINA (V.O.)
                                Light this, Eli!!!
               The church door swings open. Nina and Cameron emerge, covering
               their embarrassment with bravado. Nina is prattling as though to a
               tour guide.
                                ...And those bells are so
                                interesting. Imagine four hundred
                                years ago by boat from Amsterdam.
                                Thank you for the tour. It was so
                                informative. I'm going to write my
                                father. He's so interested in God
                                and things like that.
                                            ELI'S VOICE
                                Hiya.   Want a lift?
               Eli miraculously appears from above. He descends and rides around
               beside them in the bucket of the crane.
                                Oh, for Christ's sake...
                                There once was a maiden fair,
                                smooching a guy with red hair...
                                Eli, get away with that thing!
                                       - 51 -
                          ...Could it be Raymond who's turning
                          this dame on? ...Or his double,
                          young Lucky Pierre?
          Unable to elude Eli in his basket, Nina turns on him in mock
                          It's gotten to the point where I
                          have to look under the stopper of
                          the bathtub when I take a shower to
                          make sure I've got some privacy!
                             (broadly gesturing to
                          Thank you one and all and good
          Privately, she gives Cameron's arm an affectionate squeeze, then
          disappears around the corner of the building. He is left holding
          the beach bag, pursued by the Peter Pan in the basket. It has now
          dropped to ground level so Eli is looking up at Cameron.
                          Step right in, folks...the "Killer
                          Crane" ride of the century.
                          Thanks, I'll walk.
          Eli's basket now moves up a few feet so he's looking down at
          Cameron, riding beside him while he walks.
                          Ah, youth. Six hours in town and
                          caught with the leading lady. Not
                          bad. Shouldn't be so upset.
                          Okay to be upset about what happened
                          in the dining room? Why'd you
                          promise to show that cop the film?
                          He'll recognize me.
                          You really don't trust me, do you?
                          Hop in. I got a present for you.
                                             - 52 -
                He pulls Cameron into the basket beside him so unexpectedly that
                Cameron drops Sam's bag. Eli picks it up and plops it into
                Cameron's lap. Suddenly Cameron finds himself soaring skyward at a
                stomach-churning rate -- while Eli rattles on...probing, disarming,
                                           ELI (CONT'D)
                                You constantly amaze me. You don't
                                go to movies. What's that tatoo, a
                                disguise? You a Commie? Don't you
                                know that King Kong was only three
                                feet tall? He came up to Fay Wray's
                                belly button. If God could only do
                                the tricks we can. What are you
                                worried about the film and the cop
                Now, hanging ten stories above the city, Eli is adjusting his
                viewer, looking at a cluster of RED FLASHING LIGHTS IN THE DISTANCE.
                He hands the viewer to Cameron, who looks through it.
          81A   We see a telescoped view of THE POLICE ROADBLOCK at the end of a
                highway with cars waiting to get past ARMED POLICE.
                                           CAMERON'S VOICE
                                What am I worried about the cops
                                           ELI'S VOICE
                                Another one over there.
          81B   THE VIEW WHIPS to a second police roadblock at the other entrance to
                                           ELI'S VOICE (CONT'D)
                                It's a pair.
          81C   TWO SHOT
                                   (puts viewer down)
                                Is this my present?
                                No, your present is a piece of good
                                Keep it.
                                       - 53 -
                             (patting Sam's beach bag)
                          You've got that look again. That
                          gleam of the sprinter about to set a
                          record for the 50-yard dash. Is
                          that why all those cops are chasing
                          you? What are you, some kind of sex
                          freak running across America with
                          your fly open? Is that why they're
                          after you?
                          You're close. What's your advice?
                          Button your fly and be at the
                          airport on Sunday at three o'clock
                          with the rest of the crew. Climb
                          aboard our chartered 707 and fly
                          away with us to where the setting
                          sun bleeds into a million swimming
                          pools a man can hide in. You do
                          swim as well as run?
                             (overwhelmed by the
                          I'll swim like a fish. You really
                          mean it?
                             (Eli nods)
                          Why are you trying to save my ass?
          Eli hesitates, then answers quietly -- for him there is great
          meaning in it.
                          ...Because you're as crazy as the
                          guy I'm doing the picture about.
                             (then grinning archly,
                              the mood broken)
                          ...Besides, I've fallen madly in
                          love with the dark side of your
                                              - 54 -
               The thunderous clang of bells! Cameron ready, coiled tight, heart
               pounding as loud as the bells. A burst of machine gun bullets tears
               through the railing beside him, sending splinters flying against his
          83   CAMERA CREW
               HARVEY (Second Unit Director) and CAMERA OPERATOR behind the
               MITCHELL, looking up tensely. Harvey gestures, yelling.
          84   IN BELL TOWER
               Near Cameron, the SECOND A.D., crouched out of sight with a walkie-
               talkie, stabs a finger at him.
                                            SECOND A.D.
               A burst of tracer bullets streak past Cameron. Sparks fly, as stray
               bullets seem to bounce and ricochet off the bells.
          85   MACHINE GUN
               A 50-calibre MACHINE GUN, a SPECIAL EFFECTS MAN in Levi's and sport
               shirt, pumping tracers past the bell tower.
          86   TWO SHOT - BELL TOWER
               The Second A.D. slams his hand down on a PLUNGER, setting off a
               series of explosive squibs. Like machine gun bullets, they start
               shattering the railing, moving toward Cameron, forcing him to the
               edge of the tower.
               Vaulting over the rail, he clings to the side of the bell tower.
               Explosive bursts disintegrate the railing in his hand. He shoves
               out, launching himself into space. Twisting, hurtling across the
               gap between the buildings, falling, crashing to the slate roof,
               crawling and scrambling for a hand hold. The relentless tracer
               bullets chip the slate beside him. Crouching low, Cameron, like an
               animal, moves across the roof to the safety of a water tower.
               Squibs burst over his head and spouts of water stream from the
                                             - 55 -
               Moving around the tower, suddenly there are TWO GERMAN SOLDIERS
               running at him with bayoneted rifles. He wheels and there stands
               ANOTHER GERMAN (Chuck), who leaps toward him, slamming down his
               rifle butt. The blow glances off Cameron. They grapple, kicking,
               clawing, rolling down the steep slope, picking up momentum.
          87   RAIN GUTTER
               The roof's edge rushes toward them, below it a fearsome drop.
               Cameron's hands reach out desperately grabbing for the railing as
               Chuck, screaming, hurtles off the edge, writhing as his body tumbles
               in space toward the ground.
          88   CAMERON
               Sweat pouring from his face, a gash on his cheek gushes blood, his
               eyes glazed, he pulls himself back on the roof.
               Chuck, lying relaxed on the straw and mattress safety pad which
               caught him on the ground, looks up, cups his hands and shouts at
          90   ROOF
               Cameron, running for his life along the edge of the roof, the
               soldiers shooting down at him from the roof's peak. He reaches the
               far end, looks down. There is the awning jutting from an adjacent
               wall two stories below. He scrambles off the roof. Clinging to the
               down spout, he starts descending it.
          91   SPECIAL EFFECTS MAN
               Looking up from the ground, he yanks a control rope.
          92   CAMERON
               The bracket holding the down spout breaks loose. The spout starts
               to fall away from the side of the building. Cameron clings to it,
               riding its downward arc as though it were a falling tree.
                                               - 56 -
          93   AWNING
               At the end of the arc, Cameron throws himself free for a safe
               landing and smashes against the awning. Instead of holding, it rips
               apart like paper and, in that unexpected instant, Cameron's eyes
               widen in genuine terror as he plummets through the shredded canvas
               toward a skylight one floor below.
          94   SKYLIGHT
               Exploding in a shower of glass and wood as it is struck by Cameron's
               body. He hurtles downward toward a blur of images.
          95   ANGLE ON COT
               Collapsing from the impact of Cameron's fall. The MAN and WOMAN who
               were making love on the cot have been flung to the ground and roll
               entwined with him. Cameron is dazed. Like a drowning man, he rages
               to free himself from the tangle of naked limbs and smothering flesh.
               A painted face shrieks in laughter -- as the door to the room he is
               in is thrown open, revealing:
               Cameron has fallen into a cubicle in what appears to be a World War
               I German army brothel. In the high-ceilinged room, there is a row
               of cots separated by makeshift screens. COUPLES jump up from the
               cots startled. A line of partly naked GERMAN SOLDIERS waiting their
               turn at the whores have broken into shouts and laughter at Cameron's
               unorthodox entrance. They crowd around the cubicle where Cameron
               fell and now struggles with the couple.
          97   ANGLE ON CAMERA CREW
               Gabe at the EYE PIECE, Eli beside him, photographing the scene.
                                  Keep rolling!
                                     (calling out to soldiers)
                                  The clothes!...Do the clothes!
          98   ANGLE ON CAMERON
               The men tear him free from the couple shouting playfully.
                                             ONE MAN
                                  What are you a field marshal?
                                       - 57 -
                                     SECOND MAN
                          Wait your turn like the rest!
          Cameron's confusion changes to helpless fury as he kicks and
          struggles against a forest of grasping hands ripping his clothes
          away, passing him back toward the rear of the line.
                                     THIRD MAN
                          Where are your manners?
                          This is a whorehouse, not a stable.
          Whores have left their cots to join in the assault, screeching in
          glee. As he maniacally lashes out at his good-natured molesters,
          the blood from Cameron's face smears a whore's body.
                                    ELI'S VOICE
          Instantly everything stops. Cameron is sprawled half-naked on his
          knees at the end of the line. Enraged, he whirls toward Eli who has
          caused this humiliation. Then the CLAPPING begins, the CAST and
          CREW applauding his stunt. People slap him on the back admiringly.
          A robe is thrown around him. He is helped to his feet. Suddenly
          Nina is there flinging her arms about him and kissing him on the
                          I'm so proud of you...I could just
          He is pulled away from her by the backslappers. Now Cameron is
          responding to this strange new sensation -- the warmth of public
          acclaim. He regains his poise, hoping his embarrassing anger wasn't
          noticed. Chuck is now beside him, reaching up to the wound on
          Cameron's face and pulling away the plastic makeup patch with fake
          blood inside; the "wound" is gone. He starts feeling Cameron's
          shoulders, arms and ribs for possible damage.
                             (quietly to Chuck,
                              wincing in pain)
                          Why didn't you tell me about the
                          awning? I could have been killed.
                                               - 58 -
                               No chance. You were in your
                               mother's arms from the time you hit
                               the sugarglass skylight. Those
                               stunt men you fell on would have got
                               you out of anything.
                               Stunt men?
                               The one with the tits and the other
                               Why didn't you tell me?     Afraid I'd
                               chicken out?
                               Eli likes some things spontaneous.
                               Makes 'em more believable. You're
                               okay. Whaddya want?
                               Not to think I'm going crazy.
          99   ANGLE ON ELI
               He is moving through the crowd.
                               Where's Raymond? Raymond, were you
                               watching that closely?
                               What can I tell you?     I'm a brave
               There is general laughter.    Eli, raising his arm like a referee.
                               All right. We're doing the
                               coverage. Camera here.
               Eli continues toward Cameron.    Chuck is spraying ethyl chloride on
               his bare tattooed shoulder.
                                             - 59 -
                                           ELI (CONT'D)
                                   (to Chuck)
                                Careful. Don't blind the eagle.
                                   (to Cameron)
                                I owe you six hundred bucks.
                                   (acknowledging the
                                If anything bothered you, be happy
                                to do it again.
                Eli laughs and moves off, Cameron staring after him.
                                   (to Chuck)
                                I can't take my eyes off the son-of-
                                a-bitch. Everybody does what he
                                wants them to, even me. I feel like
                                thankin' him 'cause I fell on my
                                ...It's just a crush.   You'll get
                                over it.
          99A   ANGLE ON SAM
                Approaching Eli, who turns to Sam, eager, vulnerable.
                                What did you think?
                                You are a smug, insufferable son-of-
                                a-bitch. When I read the insane
                                asylum scene to my wife and four
                                children, my wife cried, my oldest
                                son shook my hand for the first time
                                in his whole life. So, why is it,
                                Eli, that this vulgar little scene
                                turns out to be so much...stronger,
                                more moving?
                                               - 60 -
                                  God knows, Sam. Maybe...because you
                                  get the feeling that the enemy might
                                  just be some poor horny slob like
                                  you, lookin' for the nearest
                                     (putting his arm around
                                  How about that, Lucky? When that
                                  stunt man's boob hit you in the
                                  mouth, was it just another boob...or
                                  did it taste like kraut?
                 The crew laughs and so does Nina.    Cameron feels humiliated by Eli's
                 patronizing tone.
                                  It tasted lousy. But what do I
                                  know? You try it, Eli. You're the
                                  expert in bad taste.
                                     (for the group)
                                  Uh-oh, sounds like the soldier's got
                                  his feelings hurt.
                                  Naw, naw. I just don't know about
                                  Germans. Where I was we only raped
          100    INT.   HOTEL GARAGE - CLOSE ON ELI
                 As though continuing previous dialogue.
                                  Oh, is that why the cops are after
                                  you? ...After all this time?
                                  Damn! You finally guessed it!
          100A   WIDER ANGLE
                 Revealing Eli and Cameron walking through the hotel GARAGE toward a
                 replica of the lost Duesenberg which a MECHANIC works on.
                                               - 61 -
                                  ...Really? Rape? No. I think
                                  you're putting me on. Come on, now,
                                  no more hints.
                                     (he thinks)
                                  Let's see...Christ, could be
                                  anything. I know a guy in this
                                  state got 20 years for having
                                  cunnilingus with his wife.
                                     (studies Cameron)
                                  No...I guess you're not the type.
                                  More likely some hideous crime of
                 Eli is getting under Cameron's skin.     They stop at car.
                                     (to mechanic)
                                  Have you seen Harvey?
                                  I think he's in there.
                 Mechanic nods toward a door at the rear of the garage. Eli pats the
                 fender of the Duesenberg. Cameron views it with a strange sense of
                 unease. Putting his arm around Cameron's shoulder, Eli leads him
                 toward the back door yelling to mechanic.
                                  You'll have it ready on time?
                                  Yeah, but don't look under the hood
                                  or you'll find a Chevy.
          100B   At the door, Eli can barely open it to squeeze through.
          101    INT.   STORAGE ROOM
                 An incredible number of people have wedged themselves into this tiny
                 smoke-filled room, peering over each other's heads toward a lighted
                 area at the far end.
                                  Harvey in here?
                                             - 62 -
                                           OFFSTAGE VOICE
                                Quiet. We're shooting.
                                   (then back to business)
                                Come on...let me have a little more
                                face...a little more face!
                Eli squats on his haunches peering between the legs of the onlookers
                and tugs on Cameron's sleeve to join him.
          102   POV
                Hazily, through the restless shifting limbs, male and female, like
                the first rays of morning sun breaking through to the depths of the
                forest, we glimpse Raymond and Gabe shooting their eight millimeter
                epic: Two people screwing in a rowboat. Raymond suddenly throws
                his hands up in despair.
                                Jesus, Kenneth. Great control. All
                                right, who's doubling for Kenny on
                                the inserts?
          103   ANGLE ON ELI AND CAMERON
                Cameron and Eli rise to their feet.
                                Can you believe this? They spend
                                the whole day working in a
                                whorehouse and look how they relax?
                                That's dedication. You think sex
                                can save the world?
                                   (grins at Cameron)
                                That's not my bag, Eli.
                                Sex, or saving the world?
                                ...The world, that's your special
                                job. And Jesus, are we all lucky to
                                have you around...
                Suddenly Cameron is shoved backwards by the door as someone pushes
                against it to get in.
                                              - 63 -
          104   ANOTHER ANGLE
                It is Harvey standing in the doorway with Nina.
                                    (to Eli)
                                 Hey Chief, ya lookin' for me?
                Nina tries to peer over the heads of the crowd, pushing into the
                room. Cameron steps toward her without thinking. He wants her out
                of there.
                                 What's happening?   What's going on?
                                 Look who's here! Nina, we need you.
                                 Still got your makeup on?
                Nina, who by now has seen what's happening, laughs.
                                 That's a daring touch, Raymond!    The
                                 rowboat. Terribly symbolic.
                There is general laughter, but not shared by Cameron. He
                surprisingly finds himself angry at Nina's presence here and
                everyone's easy familiarity toward her. She sees Cameron and Eli
                through the smokey dimness and works her way toward them smiling.
                Eli puts his arms about her shouting over the din.
                                    (kidding her)
                                 Just like the old days, huh kid?
                                 Remember the sunglasses and garter
                                 belts back when we got our start?
                                 Make you nostalgic?
                More laughter.   Nina turns to Cameron.
                                 Hi Lancelot. What's a nice boy like
                                 you doing in a place like this?
                                 Going to rescue the maiden from the
                                 He just asked if he could do the
                                 rowing. Didn't you, kid?
                                       - 64 -
                          Having fun with me, aren't you?
                          It's Eli's potty training class.
                          Show little Lucky the pretty lady.
                          Make dirt on the pretty lady. Watch
                          little Lucky puke. Trouble with you
                          is you think the whole world is your
                          own personal crapper.
                             (Cameron starts to exit)
                          Have yourself a time...Just wallow
                          around in it, man. Watching you
                          makes me feel like Mr. Clean.
          Cameron storms out in a rage. Eli watches with a thoughtful smile.
          Sam, who has witnessed the outburst, turns to Eli, furious:
                          ...Goddamn little prudish bastard!
                          No more than you and's the
                          human condition. We just hide it
                          ...Are you kidding?...If That guy in
                          the rowboat was a Marine sticking a
                          bayonet in her instead of a cock,
                          that uptight son-of-a-bitch would
                          have saluted.
          Eli starts laughing.
                                     SAM (CONT'D)
                          Fucking Fascist. What are you
                          laughing at?
                          It's just...that girl in the
                          rowboat, she looks exactly like your
                          daughter, Jennifer.
                          Goddamn you, Eli.   That's not funny!
          He grabs Eli by the shirt front, cocking his fist.
                             (laughing and wrestling)
                                              - 65 -
                                 Get 'em, Sam! Sic 'em! Kill 'em,
                                 boy! That's my uptight killie
                Sam's anger fades to a sheepish grin, realizing he's fallen into
                Eli's trap. Where his daughter is concerned, he's just as prudish
                as Cameron. Eli snaps an affectionate headlock around Sam's neck.
                                 Son of a bitch.
                                    (still laughing)
                                 See what I mean? Old Victoria's
                                 still got us all by the balls. God
                                 save the queen!...Only difference
                                 is, we like to make movies about it.
                With hardly a pause, he turns.
                                            ELI (CONT'D)
                                 Harvey, dailies at six o'clock
                                 tomorrow morning. We're shooting at
                Rubbing his hands together (the old pro taking over), he starts
                pushing his way through the crowd.
                                            ELI (CONT'D)
                                 All right now, let's put a little
                                 bit of class into this production!
                He elbows his way to center stage.
                On the folding chairs facing the PORTABLE SCREEN, a dozen people are
                silhouetted against the light from the projected dailies. Cameron
                enters, pausing so his eyes can adjust to the dark.
                                                - 66 -
          106   POV
                In the dimness, Nina sits separated from Eli, Sam and a few others.
                On the screen, a World War I British biplane in steady flight is
                interrupted by a couple of subliminal cuts. Another subliminal
                flash holds and replaces the scene on the portable screen. It's a
                "NUDIE" SHOT -- a rear view of the lady taken in the rowboat the
                night before.
                                   What the hell is that?
                The watchers all break up, recognizing the work of Raymond and Gabe.
                                   Hey Nina, there's your toothpaste
                                   I love her smile...
                As Nina laughs good-naturedly, the airplane is back on the portable
          107   ANGLE ON CAMERON
                Involuntarily smiling to himself and now less uptight about last
                night, he walks over and sits down beside her.
                                   How they get the film developed so
                Without even glancing at him, Nina gets up and moves to a chair some
                distance away. He is stunned, then angry. Then confounded. Then
                resigned to the ways of women, he goes over and sits beside her.
                                   What's the matter?
                                      (turning on him)
                                   Don't let the fact that Eli treats
                                   you as an equal go to your head.
                                   You're not!
                                             ELI'S VOICE
                                              - 67 -
                                 Nina, we're watching dailies.
                                 I'm sorry, Eli.
                                 But he can say anything and that's
                                 ...That's right...
                                 ...That's great...
                                 ...What goes on in that dim little
                                 head of yours? How dare you open
                                 your mouth to him like that? Have
                                 you the vaguest idea what he's
                                 trying to say to people with this
                                 film?!...That man is the most
                                 dedicated, kindest...!
                 Eli's voice interrupts, angry, like a schoolteacher dismissing a
                 child for talking.
                                            ELI'S VOICE
                                 Nina, you can go now.
                 Nina, close to tears, quickly gets up and hurries out of the
                 theater, as Cameron sits there numbly staring at the screen.
          107A   POV
                 On the portable screen, Raymond in helmet and goggles is in the
                 cockpit of an airplane. He stuffs a bottle of champagne into a
                 leather flying boot, dangles the package over the side and lets it
                 go. Raymond looks down and salutes (like that famous scene in
                                            PRODUCTION MANAGER'S VOICE
                                 Who says nothin' changes? Like to
                                 see one of our boys in a B-52 try
                 Eli's voice yells 'cut' on the sound track. The angle on the
                 portable screen widens and we see that the airplane sits on the
                 ground with an electric fan blowing wind in Raymond's face.
                                               - 68 -
                 Now the scene on the portable screen changes: from the ground, we
                 see the same biplane flying low. An object drops from the cockpit
                 (the boot). Then there is a burst of flame in the engine. Trailing
                 smoke, the plane wobbles, crash-lands (sliding alarmingly close to
                 CAMERA). It ground-loops, goes up on one wing and, as it crashes
                 down, we see that the pilot who we assumed was Raymond, is really a
                 dummy that is flapping absurdly and falling to pieces before our
                 eyes during the crash. There are groans, laughter and raspberries
                                  Jesus, Eli, I'm sorry.    I'll do a
                                  It's so awful, it's beautiful.    Wish
                                  I could use it.
                                  That's all we'd need.
          107C   ANGLE ON GROUP
                                     (getting morose)
                                  We goddamn well need something, Sam.
                                  Something better than we got...
                                  Better? How better?
                                  Wilder, crazier.
                                     (starting to shout)
                                  Dropping a dead man's boots over his
                                  own airfield, out of chivalry...
                                  that's not crazy enough for you?!
                                  They did it in "Wings."    Even the
                                  dummy was bored.
                                            PRODUCTION MANAGER
                                              - 69 -
                                   (anxiety at the breaking
                                ...Eli, please! You simply will not
                                accept the fact that we are living
                                on borrowed time...
                But Eli and Sam are not listening.
                                You can't shake your finger at 'em,
                                Sam. If you've got something to
                                say, you better slip it in while
                                they're laughing and crying and
                                jacking off over the sex and
                                violence. He should do
                                Like what?
                                Something to catch the stink of
                                madness behind all that good clean
                                fun. Why the hell did we pick World
                                War I in the first place?...The
                                ultimate romantic insanity!
                                Like what?!
                                Like...I don't know what! What
                                would Lucky do if he were on the
                                wing of that plane? Picture that
                                because it would be a hell of a lot
                                realer than that flapping dummy.
          108   Cameron is startled.   He was not aware that Eli even knew he was in
                the room.
                                Is that what you're after, reality?
                                I thought you wanted something
                        - 70 -
          Reality can be pretty outrageous.
          Look at soldier boy there, jumping
          off fucking buildings, risking his
          ass every day, doing stuff way over
          his head!...What would you do in
          that plane, Lucky, if you were about
          to die?
             (off guard, embarrassed)
          What else? I'd dance for joy...I'd
          probably do a jig.
          Great!   That's what we'll do.
          All right, not a jig...a
          A Charleston?
          ...On the wing of the airplane!
          ...That's ridiculous.
          You're damn right...
          The Charleston is silly...They won't
          believe it.
          I'll do it so they'll believe it!
          You'll get a laugh, Eli.
                                              - 71 -
                                Only when I want them to laugh!...
                                   (toward rear of the room)
                                Right, Lucky?
                It screams down vertically, full power, machine guns blazing, then
                smashes into the earth, shredding to fragments hurled in every
                direction. The dead German pilot is flung crumpled to the ground.
                The plane's carcass explodes, filling the screen with fire and black
                smoke through which we see a brightly colored PARACHUTE descending.
                The FIGURE dangling beneath it passes through the smoke and flames
                and tumbles to the ground, rolling, his parachute now ablaze. It is
                Cameron dressed in a British flyer's uniform.
          110   ANGLE WIDENS
                To show the hand-held Arriflex at Gabe's eye, Eli behind him,
                steering Gabe by the back of his belt and carrying the battery pack
                as they photograph Cameron shedding the harness. With the camera,
                they crouch and move together like a three-headed, four-armed, four-
                legged creature.
                Banking steeply, a British fighter roars past Cameron, its wingtip
                almost brushing the ground, machine guns rattling, driving some
                advancing German soldiers back toward the woods.
                The plane touches down to rescue Cameron, the pilot beckoning.
                Cameron has pulled off the dead German pilot's boots and helmet.
                Stray bullets strike about him as he sprints to the idling British
                plane. It is a single-seater. It starts to pick up speed. He
                grabs a strut and scrambles up onto the lower wing.
                The bucket hanging from the giant CRANE descends. Smoothly Eli
                guides Gabe backward, seating him in the bucket. The bucket rises,
                lifting Gabe while he photographs the scene, as the plane with
                Cameron on the wing becomes airborne.
          112   ANGLE ON PICKET FENCE
                Behind it is a CROWD OF SPECTATORS who jump up and down shrieking.
                CAMERA PANS to show Nina among them, her excitement hardly more
                                                 - 72 -
                The giant arm of the crane swings and rises with the plane,
                completing Gabe's spectacular shot. Now we see a HELICOPTER drop
                into frame, photographing the plane from the other side. The
                chopper and the vintage British plane bank together in perfect tight
                formation with Cameron standing spread-eagled between the wing
                struts like a flying Christ, as they soar into the sun.
          114   ANGLE ON CAMERON
                Seated on the wing, his back against he fuselage, legs firmly
                against the struts. His white silk scarf streams into the tearing
                wind. Jamming a champagne bottle into the German's boot, he holds
                it up. The pilot grins approval, popping the cork on a second
                bottle which spouts foam into the slipstream. Laughing, he passes a
                glass to Cameron and pours from above. The liquid is lost in the
                wind. Shrugging, he swigs from the bottle and hands it to Cameron.
                Cameron drinks. The champagne pours down his throat and face and,
                holding the strut with one hand, he rises to his feet.
                The pilot waggles his wings, giving Cameron a seesaw ride to get his
                bottle back. Cameron now seems drunk. He lets go of the strut and
                stands leaning against the wind. As the pilot toasts his courage,
                Cameron's balance falters and he grabs the strut.
                Now, Cameron picks his way through the guywires toward the end of
                the wing. Then he bounces up and down, rocking the plane. The
                pilot starts to sing to Cameron's rhythm, "How ya gonna keep 'em
                down on the farm..." And Cameron dances the Charleston.
          115   INT.   HELICOPTER
                Gabe at the eyepiece of the Mitchell, slowly tilting up and down to
                follow the action.
                                    Fan-fucking-tastic. Whaddya been
                                    feeding that soldier-boy...brave
                Through the plastic bubble, the biplane can be seen in the distance
                going through its antic maneuvers.
                                    It's not what he's's
                                    what's eating him...that makes it
                                    sort of interesting.
                                       (through intercom)
                                    Okay, drop the package.
                                                  - 73 -
                CLOSE ON BIPLANE
                Cameron holds the boot poised, lets go. Then, the pilot is struck
                by a bursting shell. As he slumps over, the plane skids and slips
                and drops off into a spin. Cameron clings for his life as the
                sickening momentum grows, until his feet are flung out from under
                him and he dangles from the wing, whipping in space.
          117   WIDE ANGLE
                Suddenly it becomes clear how what we are seeing is possible -- the
                airplane is no longer in flight, but is dangling a few feet above
                the ground, suspended from the cable of the huge crane. The crewmen
                shove at its tail and wingtips to keep it revolving. Cameron is,
                indeed, clinging to the wing strut, his feet held in space by the
                centrifugal force. But, if his hands slip, he will fall ten feet
                instead of to certain death.
                                   How is it?
                               (panning and tilting)
                                      (into walkie-talkie)
                                   Okay, now level out.
                Easing some levers back.
          120   POV THROUGH LENS
                As the spin slows down and the plane appears to level out, Cameron
                regains his footing, perches on the wing and looks forward in
                growing horror.
          121   WIDER ANGLE
                As the swinging arm of the crane glides the plane forward toward a
                stand of trees at the edge of a clearing.
                                              - 74 -
          122   PAST CAMERON - MOVING SHOT
                We see the rapidly approaching trees. Closer and closer, until with
                a horrendous crash, the plane sails between two trunks, shearing off
                the wingtips, the nose smashing into another, hurling Cameron off
                the wing like a crumb flicked from the table.
          123   EXTREME CLOSE UP - CAMERON
                Apparently hurtling through the air, his eyes widen at the impending
                impact. A gasp and then a sharp cry. But instead of the
                crash...the ANGLE WIDENS and we see it is Cameron reaching orgasm.
                With extreme contentment on his face, he rolls over revealing Nina,
                who, it is clear, has also had a lovely time.
                They are in bed in a pleasant large room (the Queen Anne Suite),
                untidy, with script pages, wigs, costumes, fresh flowers, the
                leftovers of a room service dinner. Nina caresses his back,
                noticing bruises. She kisses them gently and starts to giggle. He
                looks at her quizzically.
                                That's twice for me today. Now.
                                And when I watched you do the stunt.
                The ALARM CLOCK on the dresser BEGINS RINGING.   He sits up, puzzled.
                                           NINA (CONT'D)
                                I have to study my scene for
                                tomorrow. The Old Lady at the
                                cemetery. It's brutal. I set the
                                clock in case we dozed off.
                Cameron gets up, moving toward the dresser to turn off the clock,
                but instead stops at the stand holding the Old Lady wig. He runs
                his fingers through it as the clock continues to ring.
                                How come they cast you as an old
                                I start out as a young girl hiding
                                this American flyer. I'm Austrian...
                                Will ya turn off the clock?
                Subtly, we sense something is bothering Cameron.    He ignores the
                still-ringing clock.
                                       - 75 -
                                     NINA (CONT'D)
                          Anyway, his patriotism is stronger
                          than his love and he leaves me with
                          another little patriot in my belly.
          During this he has taken the wig and puts it over his head, glancing
          in the mirror.
                          Why can't I double for both of you?
                          I could use the money and I don't
                          look half bad.
                          Honey, you'll ruin it.    Take it off.
          He does.
                                     NINA (CONT'D)
                          The clock's electric. It'll ring
          Instead of turning off the clock, he crosses to the Old Lady's dress
          on a hanger. He looks at the dress appraisingly.
                          Eli might really go for that, the
                          big soldier as a little old lady.
          Disturbed, Nina leaves the bed, turns off the alarm clock and
          adjusts the wig properly on its stand.
                          What's wrong?
                          Everything's beautiful.
          They embrace and cling to each other. She starts back for the bed,
          but he detours for the clock and pulls out the alarm again, and
          again it BEGINS RINGING.
                          What are you doing?
                                       - 76 -
                          We've got to consider Eli. If you
                          don't study the scene, he'll be
                          mad...then you'll get mad...and I'll
                          get shot out of a cannon.
          With the alarm still ringing, he starts toward the bed.
                          Did you fall on your head today?
                          I want it to ring.
                          For me, that's why. That's Eli
                          yelling for you to work on your
                          scene and us saying, "Up yours,
                          Eli," and I like that.
                          Do you want to leave?
                          I want to make love to you while Eli
                          is screaming his head off.
          The whole idea is so incongruous that she starts laughing. He gets
          on the bed with her. THE ALARM CONTINUES TO RING. They struggle
          about, giggling at the absurdity.
                          I can't make love with the clock
                          Betcha can.
          While he moves over her body, she grabs a pillow and hurtles it at
          the clock. It falls over, but keeps on ringing. By now, Cameron
          has entered Nina and she is rapidly becoming more involved in that,
          than in the clock.
                             (to ringing clock while
                              making love to Nina)
                          You tell 'em, Eli.
                                                 - 77 -
                 CLOSE ON MOVIOLA
                 In the darkness, the machine is like an ominous hunchback,
                 splattering shards of light against Chuck's intensely watching face.
                 He is highly disturbed at the unseen image.
                                       (to himself)
                                    Crazy bastard!
                 ANGLE WIDENS, showing a small STORAGE ROOM has been converted to a
                 makeshift EDITING ROOM, where Chuck sits working the MOVIOLA.
                 Slowly becoming aware of someone, he glances up through the spinning
                 reels and dimly sees Cameron leaning in the doorway.
                                    There was no way it could go
                                    wrong...unless he just went ape.
                 Cameron ambles over as Chuck reverses the film to see it one more
                 time. Even as he catches a glimpse of the film whirring backward,
                 he realizes he's seeing BURT'S DEATH SCENE in the water. Now Chuck
                 has reached the beginning of the film and is moving it forward
                 The film whirs as we see through the windshield over Burt's
                 shoulder, the car flying through the air, hitting the water and
                 sinking beneath the surface. Burt goes through the motions of a man
                 trying to free himself.
                                    The harness is okay...the roof is
                           all seems fine.
                                    But look at him struggle...
                                    ...Badly. Eli wouldn't use a foot
                                    of it...poor slob died for nothin'.
          126    ANOTHER ANGLE
                 Sweat is running down Cameron's face.    Finally, with dread...
                                    That the windshield...
                                              - 78 -
                                 What about it? Probably from the
                                 impact. No water coming in.
                Cameron's face reflects immense relief. At least he's not guilty of
                that. The flung stone was not the cause. Now, abruptly, Burt's
                body begins to move more violently.
                                            CHUCK'S VOICE
                                 There! Look at that. He's starting
                                 to panic. Will you, for Christ's
                                 sake, tell me why?
                As Chuck slows the film, we see Burt's head duck beneath the view of
                the underwater camera, leaving only the steering wheel and
                windshield. For an instant, the current changes the light and the
                crack glows brightly, like a spider web. Burt reappears, his face
                now toward camera, wild with terror. The slow motion lends a
                bizarre elegance to his agony. Abruptly, the FILM GOES BLACK.
                                 Shit. That's where it stops. That
                                 fuckin' spooked and took
                                 his finger off the remote button.
                                 Is this how the story was supposed
                                 to end, with the flyer dying in the
                                 Sure as shit ended that way for
                                 Burt, didn't it?
          127   INT.   REHEARSAL HALL - DAY
                In one of the private DINING ROOMS off the lobby, tables and chairs
                are pushed against the wall to make room for a rehearsal now in
                progress. Some early morning TOURISTS have gathered outside the
                entrance, watching. A few members of the kitchen staff peer through
                an inside doorway. Sam and key crewmen stand on the sidelines as
                Eli rehearses with Nina.
                                       - 79 -
                          The graveyard's over here...
                             (he takes a few steps)
                          ...Her car's parked here.
                             (sets down a folding
                          ...Lots of these little graveyards
                          along the roadside...most of the
                          stones are unmarked...
          He takes Nina by the hand and pulls her down beside him, kneeling on
          the floor.
                                     ELI (CONT'D)
                          You're're broke...all
                          things which meant so much are gone.
                          What's left is a single memory...
                          that brief bright love.
          Nina's listening intensely but something catches her eye. Among the
          tourists at the doorway stands Cameron, who has paused to watch, his
          costume slung over his shoulder. He nods to her with a small tender
          smile. Subtly, so Eli won't notice, she smiles back, then renews
          her concentration.
                                     ELI (CONT'D)
                          ...You spent your month's pension in
                          hiring the car. You just can't look
                          for his grave any you
                          pick one...any one. You kneel...
                          then lay the flowers down.
                             (yells to the prop man)
                          What have we got for her?
                                     PROPERTY MAN
                          I got roses.
                          No...something she picked herself...
                          wildflowers or something.
          Sam crosses over to them and kneels beside Eli and Nina.
                                              - 80 -
                                 Eli. An idea, maybe. Instead of
                                 flowers, what if she brought him the
                                 things of their life together...of
                                 their her
                                 nightgown, her underclothes...
                Eli looks at him thoughtfully.
                                            SAM (CONT'D)
                                 'Course they'd be rags by now, but
                                 let me show you this...
                From a paper bag, he takes a SMALL BRONZE CASTING of a BEAR and A
                GIRL on a SWING beneath a tree. He sets it down.
          128   INSERT ON THE BRONZE
                Sam's hand presses a lever on the side of the bronze. There is a
                whirring of the clockwork and a music box melody plays. The girl
                begins to swing. The bear slides toward her. She mechanically
                lifts her bronze dress until they meet, performing their clockwork
                love rite. Nina giggles.
                                            SAM'S VOICE
                                 It's authentic. Early Victorian.
                                 Mechanical bronzes were quite a
          129   ANGLE ON GROUP
                Eli shakes his head patiently, kindly.
                                 Sam, you'll get a belly laugh.
                                 What do you mean?   It'll break their
                Eli begins to beam. Sam, realizing he has again fallen into the
                trap, winces, chagrined. Eli grabs him in a bear hug.
                                 Welcome to the picture, Sam!
                Sam struggles to escape from the iron grip as Eli dances him about
                in joy.
                                             - 81 -
                Denise, with spray can and fingertips, is massaging in red dye, as
                the CAMERA PULLS BACK.
                                Naw, nothin' too unusual today...get
                                run over by a tank, blown up by a
                                land mine, a house falls on me...
                                Easy stuff, but I can use a rest.
                                           DENISE'S VOICE
                                ...And some manners. As one of the
                                world's greatest middle-weight
                                lovers, I hate to play a one-night
                                stand. I heard you been busy, but
                                you know the old, if
                                you can't come, call?
                                I wanted to, but I was scared.
                                They're so square where I hail from.
                                Twice is considered a love
                                affair...didn't want to rush you.
                                ...Three times is a love affair.
                                Twice is nice...
                                           VOICE (O.S.)
                                Hey Denise, for Christ's sake! We
                                got a set call in forty minutes.
          131   ANOTHER ANGLE
                To include a MAKEUP TABLE against the far basement wall with THREE
                ACTORS sitting at it, wearing plastic aprons to shield their
                                   (to Cameron)
                                You just sit here...dry...and
                She crosses to the men at the makeup table.
                                Glad ya could tear yourself away.
                                              - 82 -
                                 Don't panic. He's still got that
                                 whole big emotional thing to do with
                                 the dog food lady before they even
                                 get to you. You may not work 'til
                                 You wait. Eli'll wave his wand and
                                 get it out of her in five minutes.
                                            DENISE'S VOICE
                                    (trimming his hair)
                                 You're confused...He got it into her
                                 in five minutes. To get it out of
                        takes longer.
                There is general knowing laughter as Denise crosses back to Cameron
                and sees by the look on his face she has hit her target. The
                thought of Nina and Eli as lovers had never occurred to Cameron.
                                            DENISE'S VOICE (CONT'D)
                                 Oops...somebody didn't know...
                The effect is stronger than she had expected.     Now compassion sets
                                            DENISE (CONT'D)
                                 Hey. C'mon, Red...I'm a woman
                                 scorned...I'll say anything.
                Cameron just sinks back in the chair, slowly dying.
                Over the tinkling sound of the music box, the BEAR and MAIDEN
                perform their ritual as the CAMERA PULLS BACK revealing the
                GRAVESTONE decorated with the worn filmy lace undergarments of
                another era. They flutter in the soft wind and amber light of a
                summer afternoon, strangely beautiful against the mossy granite
                marked "UNKNOWN." Somehow these rotting women's underthings have
                the dignity of a sacred tapestry draping an altar.
                                            OLD LADY'S VOICE
                                 ...You terrible bear... so
                                 impatient... tearing something so
                The ANGLE WIDENS and we see Nina, now made up to look wrinkled and
                gray, tragically old, her eyes moist as she kneels beside the grave.
                                       - 83 -
                                     OLD LADY (NINA)
                             (sudden deep sincerity)
                          Why do I lie? I couldn't wait
                          either. I think both of us are
                             (a soft nostalgic smile)
                          Go, young maiden, you'll be late for
                          your piano lesson.
          An elegantly-dressed CARIBINERRI (ITALIAN POLICEMAN) appears.
                                     OLD LADY (NINA)
                          I'm almost finished.
                          Signora. This desecration... some
                          flowers perhaps...would be
                                     OLD LADY (NINA)
                          But, we want these.
                          Please, signora. It's not right.
                          The grave is unmarked.
                                     OLD LADY (NINA)
                          Ask the driver how many graves we
                          visited today. I could have chosen
                          five hours ago. I came here and my
                          soul said, "Oh yes." I know that is
                          hard to believe...
                          Anything is possible, signora.
                             (tries urging her to her
                          Now, you must permit me to escort
                          you to your car.
                                     OLD LADY (NINA)
                          As soon as I am gone, you will take
                          everything away.
                                       - 84 -
                                     OLD LADY (NINA)
                             (tears streaming down her
                          You will, and I can't stop you, and
                          it's wrong. We loved each other...
                          Where else should these go?
          The unexpected sound of laughter makes her turn to see a SMALL GROUP
          OF PEOPLE who've gathered beside their PARKED CARS watching.
                                     OLD LADY (NINA)
                          Yes, I know I'm ridiculous, but you
                          laugh without knowing anything. You
                          would buy a plastic wreath for a man
                          of such importance.
          She pulls free of the Caribinerri and, trying to kneel down,
          stumbles and falls. Now, like some confused child, she searches
          among the garments. Taking a SCROLL from a wooden box, she shakes
          it at them like a schoolteacher would a ruler.
                                     OLD LADY (NINA)
                          President Wilson...from the
                          President of the United States...for
                          heroism. To me for sheltering
                             (smiling to herself)
                          How silly. I 'sheltered' him to be
                          with him. He was my beloved...Where
                          is it?...Oh, here, did you see this?
          She now holds up a fist from which dangles a swastika on a sash.
                                     OLD LADY (NINA)
                          Given to me by Adolf Hitler...for
                          our son. Our son...
          Her voice suddenly fierce with the pain of that memory.
                                     OLD LADY (NINA)
                          ...Our son!!!
                             (then, with simple
                          ...A thousand years of
                          what he said. That would be very
          The Caribinerri, spellbound, has taken a backward step, bumping into
          a REFLECTOR, which now teeters and falls into the scene, knocking
          off his hat, barely missing the Old Lady and crashing across the
          grave and shattering all illusion. The Caribinerri stands there
                                             - 85 -
                with his eyes closed and his fists clenched, wishing he were in the
                grave. Nina stands in speechless horror.
                                Eli, I'll kill myself.
                                ...and print.
                It's deadly silent as Eli walks over to Nina.    They stare at each
                other for a moment.
                                   (eyes brimming over)
                                Thank you, baby.
                They fall into each others arms like lovers never do.
                Everybody is applauding, wild with joy over Nina's great
                performance. Tears of happiness run unabashedly down Sam's nose.
                Only Cameron is sullen, seething with anger and jealousy as he views
                them in the light of his recent information.
                                   (through bull horn)
                                All right, that wraps the graveyard.
                                Don't pack it...just stick it in the
                                truck. Come on, we're losing sun,
                                everybody. In ten minutes at the
                Cameron is standing aside, while Nina vainly looks around for him.
                Denise is unpinning her wig. Chuck approaches Cameron.
                                       - 86 -
                          Change of plans. We're making the
                          stunt a fire gag. When you come out
                          of the barn, you're in
                          flames...wanna try it.
          Cameron, still watching Nina and Eli in the now dwindling circle of
          admirers, doesn't answer.
                                     CHUCK (CONT'D)
                          Look, don't do it if you don't
                          What does Eli say?
                          You know Eli... "Tell the soldier
                          it's an extra hundred bucks and
                          he'll do it without the asbestos."
                          Whaddya say?
                          Tell Eli to do it.
                          Hey, what the hell is wrong with
                          I'm tired of being somebody's
                          goddamn clown!
                             (moving into the shot)
                          Hey, you don't want to do it, don't
                          do it, but be happy! It's a great
                          day! Did you see her performance?
                          Terrific. It's a day for humility
                          and brotherly love!
                          Fine, Eli. Let's be brotherly.
                          Milk brothers, sucking from the same
                                                 - 87 -
          135   ANGLE - EXT.   FARMHOUSE - DAY
                As it explodes, Cameron is BLOWN THROUGH THE WALL -- ON FIRE. He
                tumbles to the ground, frantically writhes, rolls, trying to smother
                the flames, finally collapsing in some wagon tracks filled with
                muddy water. Cameron lifts his head at the approach of a THUNDERING
       ENGLISH CAISSON hurtles toward him, the driver dead and
                mangled over the barrel of the gun, the horses insane with terror.
                Before Cameron can move, the charging horses are on top of him. He
                rolls between their hooves, the giant steel wheel of the caisson
                barely missing him. Shells from a cannon barrage are bursting all
                about. Cameron staggers to his feet and scrambles over a low stone
                wall for protection, drops to the other side and then hurtles into
                the air as the wall is shattered by an exploding shell.
          136   CLOSE ON TRAMPOLINE
                As Cameron falls into the shot, landing on a hidden TRAMPOLINE near
                the stone wall, bouncing up and down 'til he finally comes to rest.
                                           OFFSTAGE VOICE
                                 Who said that?
                Cameron stares over the edge of the trampoline as Henry, the
                assistant cameraman, uneasily faces Eli.
                                 We had a film run-out.
                                    (to Gabe)
                                 How many feet are left in that
                                    (checking the Mitchell)
                                 Thirty-six feet.
                Eli advances murderously on the assistant cameraman, building to a
                rage we have not seen in him before.
                                 Goddamn you! How many times are you
                                 going to do this to me? How dare
                                 you yell cut on my set?
                                              - 88 -
                                Thirty-six feet is nothing...
                                It's twenty-two seconds! In twenty-
                                two seconds, I could break your
                                spine...I could pinch your fucking
                                head off like an insect and smear it
                                on the pavement...I could put
                                twenty-two bullets in that fat gut
                                of yours! The only thing I can't
                                seem to do in twenty-two seconds is
                                keep you from fucking up my film!
                Cameron is so intrigued that he hasn't realized an EMBER is burning
                through his asbestos protector, until suddenly he feels the flame
                and frantically begins beating it out and thus, is even denied the
                pleasure of savoring Eli's anguish.
                Rosy-faced and dewy-eyed and wearing a big floppy hat. Sensing
                trouble with Cameron and that she might be at fault, she has decided
                to do a campy, cutesy Blanche Dubois stepping off "THE STREETCAR
                NAMED DESIRE" number, ten years too soon.
                                   (southern-belle sarcasm)
                                ...I can't tell you how pleased I
                                was with your conduct. When you
                                congratulated me after my scene this
                                afternoon, all the other glowing
                                tributes faded to nothing...
                Sam has stopped typing and sits silently, waiting for the storm.
                Cameron lies on his bed in a T-shirt and shorts, an elastic bandage
                around his knee and an ice bag at his neck, coldly watching Nina's
                performance as she grandly moves through the doorway into the room.
                                       - 89 -
                                     NINA (CONT'D)
                          ...Nevertheless, I'm cancelling your
                          invitation to an intimate party
                          given by my parents, who arrived
                          unexpectedly to honor me on the
                          occasion of my birthday...but don't
                          feel too badly. As consolation for
                          a lovely evening missed, I'm
                          presenting you with the "good-sport-
                          of-the-month" award.
          From behind her back, she takes an APPLE with a tiny cocktail
          parasol stuck in it and holds it out to Cameron. Cameron lies
          glaring at her with mounting rage.
                                     NINA (CONT'D)
                          Mr. Baum, will you notify this young
                          savage that it's customary to cover
                          one's privates when accepting an
                          award? It's one of the common
                          courtesies, like...congratulating
                          What should I congratulate you for?
                          The fucking scene or for fucking the
          Nina stands there shaken, looking at him sadly.
                          For fucking the director, honey.
                             (biting into apple)
                          Didn't you know that's how little
                          girls get into the movies?
          She leaves. Cameron lies there seething, then abruptly leaps up and
          storms into the bathroom. Sam sits rubbing his head, resumes
          typing. Cameron rages out of the bathroom, flings himself onto the
          bed. Unwinding the elastic bandage, he sprays ethyl chloride on his
          knee. Sam's typing stops.
                          Young man, taking my life in my
                          hands, I must inform you that you
                          are an asshole.
          Cameron ignores Sam.
                                       - 90 -
                                     SAM (CONT'D)
                          Being a devout masochist, it follows
                          that I'm Eli's best friend. I know
                          quite a lot about him and Nina.
                          You and the entire crew, buddy.
                          He met her three years ago. Two
                          lonely people rattling around New
                          York. A brutal winter. Eli's
                          marriage had just broken up...
                             (interrupting in anger)
                          ...All she had to do was tell me!
                                     SAM'S VOICE
                          She could have done that in four
                          seconds. They went to bed once and
                          they were lousy as lovers. But they
                          had a problem. They liked each
                          other. They recognized some area of
                          mutual sensitivity. I'm boring you.
                          You telling me he banged her once
                          three years ago?
                                     SAM'S VOICE
                          I'm going to see if they can put me
                          up in the employees' toilet.
          He begins to type again, then philosophically...
                                     SAM'S VOICE (CONT'D)
                          I think he 'banged' her twice to
                          confirm the awful truth...Was she
                          supposed to be a virgin?
          But he says this so sadly and looks so miserable that Sam knows he
          has reached him and it touched.
                                                 - 91 -
                                    I had a virgin once. Had to go to
                                    Guatemala for it. She was blind in
                                    one eye and had a stuffed alligator
                                    that said, "Welcome to Miami Beach!"
                Cameron sits there feeling dumb and full of regrets. Then he gets
                up, goes to Sam's closet and begins rummaging through the clothes.
                Sam watches him curiously.
                                    So how's the new ending coming?
                                    I got fourteen versions. Take your
                                       (worried about his
                                    What are you doing in there?
                                       (overly casual)
                                    ...Fourteen gory ways to die?
                                    Thirteen. In one version he
                                    lives...turns the girl in, opens a
                                    gay bar in Berlin, gains fifty
                                    pounds and changes his name to
                                       (now deeply concerned)
                                    ...Please, anything but the
                                    sweaters. You'll stretch the hell
                                    out of the sleeves.
          140   INT.   RESTAURANT
                The pleasant SEAFOOD RESTAURANT is on the pier over the water.
                Cameron, now wearing Sam's sweater after all, is searching about the
                crowded room trying to find Nina and what might be her family. He
                is about to leave when he sees a group at a window table, a MAN and
                WOMAN in their early fifties and a FOURTEEN-YEAR-OLD GIRL,
                attractive despite the baby fat. Something about the composite of
                all their features is familiar enough to give them a second look.
                In doing so, he sees a half-eaten BIRTHDAY CAKE on their table, in
                front of an empty place. He goes to the table.
                                             - 92 -
                                I was sort of invited to a birthday
                                party and I can't seem to find
                                it...and this seems to be a birthday
                The FATHER, a hearty, bluff, good-natured man, looks at Cameron
                amiably and with a father's intuition.
                                A birthday party is a birthday
                                party...sit down.
                                   (Cameron does)
                                Who was this birthday party for...
                                animal, vegetable or mineral?
                NANCY, the fourteen-year-old, giggles.
                                Will you stop teasing this young
                                She's really worth finding, ma'am.
                                She's a very rare mineral.
                                   (pleased with Cameron)
                                How old is this mineral?
                                This morning she was acting about
                                ninety, but she might be lying a
                                year or two.
                The father now really comfortable, recognizing a fellow humorist.
                                No, you got the wrong table...this
                                one's acting like she's six...but
                                the missus tells me birthdays are
                                very emotional for the ladies.
                At this moment Cameron can tell from their faces that they've seen
                Nina behind him. He turns.
          141   POV
                                                - 93 -
                Nina has emerged from the ladies' room looking miserable and is
                walking toward them. At the shock of seeing Cameron, her hand flies
                to her mouth in such embarrassment and joy and confusion at the way
                she feels, that she starts back to the refuge of the ladies' room.
                Catching herself, she turns back to face him, her eyes now glowing
                with tears of happiness.
                He moves forward and kisses Nina. We now realize we are at her
                HOTEL ROOM DOOR. She on the inside, he on the outside, kissing
                through the doorway, which stands slightly ajar. With their mouths
                barely parting:
                                 I'm sorry it got so late...that damn
                                 five o'clock makeup call...I feel as
                                 bad as you do...
                                 In the same place I do?
                                 Will you take a raincheck?
                                    (slipping her room key in
                                     his pocket)
                                 ...A permanent one?
                He puts his hand on the pocket and grins at her.
                                 A season pass.
                                 Good night.
                Closing the door.
          143   INT.   HOTEL BAR - LATE NIGHT
                On HENRY (the ASSISTANT CAMERAMAN who Eli screamed at), his luggage
                beside him, his elbows, empties, loose change scattered before him
                on the bar top.
                                    (looking up)
                                 Lucky...hey Lucky, come over here!
                                       - 94 -
          ANGLE shifts to include Cameron a few stools down.    He looks up from
          his beer and crosses to henry.
                                     HENRY (CONT'D)
                          Guess who tole 'em to take their job
                          and stuff it?
                          Ya quittin'?
                          Fuckin' A. Gettin' out tonight.
                          But not without splittin' a Schlitz
                          with the one guy, 'cept me, who
                          wouldn't take shit from that
          As the BARTENDER is taking away the empties, Henry puts his finger
          down on a DIME.
                                     HENRY (CONT'D)
                          Change is for you, except that.
                          That's a very special dime.
                             (holds it up for Cameron
                              to see)
                          Know what this is? Ask me!
                          It's a I close?
                          It's Eli Cross' ass. People think
                          'cause you're easygoin' they can
                          walk all over you. Bull-shit...I'm
                          blowin' the whistle with this dime
                          in that phone...killin' a man and
                          hiding it from the police...are you
                          kiddin'...? Who is he think he is?
          Cameron pales, knowing that drunken Henry's desire for revenge can
          expose him to the police. He grabs the dime from Henry's fingers
          and drops it into a PEANUT VENDING MACHINE.
                          What the hell you doin'?
          Cameron stuffs the bag of peanuts in Henry's shirt pocket, grabs his
          suitcase and hustles him out of the bar toward the FRONT DOOR.
                                       - 95 -
                          I'm putting you in a cab for your
                          own good and sending you to the
                          airport. He's mine, Henry, all
                          mine. Just leave that son-of-a-
                          bitch to me!
          They have reached the HOTEL DOORWAY.   By now, Henry is convinced
          Cameron means business. He stops.
                          Do whatever you wanna do, but I
                          better do it with ya! You'll need
                          help 'cause that goddamn looney is
                          Not to me, he ain't. I'm going to
                          the cops. You gotta earn your
                          living in pictures, but I don't give
                          a shit. He can't hurt me.
                          Don't be too sure. Damned psycho
                          nearly strangled me! Don't believe
                          me? Wanna see marks...?
                             (tears open shirt collar
                              to show bruises)
                          ...Lucky to be alive!
                          Henry, what are you talking about?
                          I watched that whole thing today, he
                          didn't even touch you.
                                                - 96 -
                                   Not today. When Burt went into the
                                      (Cameron is wide-eyed)
                                   I could tell from up there in the
                                   chopper something' was wrong. So, I
                                   stopped shootin' and that crazy man
                                   gets me by the throat and starts
                                   screamin' to roll the film...I mean
                                   that guy's down there dying and he's
                                   screamin', "Keep shooting! Keep
                                   shooting!" Then, he starts fighting
                                   me for the switch and it falls
                          a crazy house up there,
                                   with him thrashin' on the floor...He
                                   didn't care about Burt. All he
                                   cared about was to get that man
                                   dyin' on film! Sickest thing I ever
                As Henry's last words sink in, Cameron stands pale and shaken.
                                              HENRY (CONT'D)
                                   I better grab that cab.
                Henry takes the suitcase from Cameron's numb hand and pushes through
                the door, looks back for a parting shot.
                                              HENRY (CONT'D)
                                   You tell 'em everything...don't
                                   mince words...
                As he goes towards cab, some MERRYMAKERS push their way into the
          144   CLOSE ON CAMERON
                Staring ahead, Henry's words echo like his own death warrant. The
                merrymakers jostle past him, discussing suntan ointments. Cameron
                turns and walks across the HOTEL LOBBY and UP the STAIRS...his pace
                increasing until he is taking them three at a time.
          145   CLOSE ON DOOR LOCK
                Cameron's hand thrusts KEY into the hole, flings open the DOOR TO
                NINA'S BEDROOM and barges in.
                                   Nina...your crazy Eli...
                                               - 97 -
                 He FREEZES. Over his shoulder, we see Nina, naked, lying on the
                 bed. Raymond, also naked, sits slumped on the edge of the bed,
                 utterly disconsolate. The three stare at each other, an absurd
                 tableau. Cameron whirls and leaves, slamming the door behind him,
                 almost off its hinges.
          146    INT.   HOTEL LOBBY
                 He comes down the steps like a madman. Raging, Cameron stomps
                 across the lobby toward the glass doors that will take him out of
                 Eli's grotesque wonderland. He collides with a group of returning
                 night FISHERMEN still in their slickers, carrying their equipment,
                 their catch wrapped in newspapers. For a moment he is tangled in
                 their tackle, FISH TUMBLING AND SLIDING along the marble floor.
                                  Jesus...don't step on 'em.
                 Cameron stares at them, whirls and rushes back across the lobby and
                 up the stairs.
          147    INT.   NINA'S BEDROOM
                 As Cameron bursts in.   She stands in her robe in the center of the
                 room, glaring at him.
                                  Get out of here!
                 Hearing WATER running in the bathtub, he dashes in, but finds the
                 bathroom empty. He moves to the closet and slides the door so
                 violently that it almost falls off: No Raymond.
                                             NINA (CONT'D)
                                  Get out!!!
                                  I'll have you thrown out!
                 She crosses to the phone.
                                  Is there anybody in this whole
                                  company you haven't screwed?
          147A   In the HALLWAY, a little group of PASSING TOURISTS turn in
                 wonderment at the tumult through the open doorway. Nina leaves the
                 phone, crosses to the door and kicks it shut in the people's faces
                 with all her strength.
                                       - 98 -
                          You stupid, ignorant bastard! How
                          dare you storm in here like you won
                          me in a raffle?!
          Cameron, realizing for the first time that instead of being ashamed
          or frightened, she is livid with rage?
                          My girl gave me her key!
                          I am not your girl! I am that man's
                          girl! That man and I have been
                          lovers for six months! I've known
                          you two days!
                          Then gee, ma'am, I sure hope you
                          didn't tell him about all that
                          ballin' last night.
                          Don't you dare be clever with me!
                          He came scratching at the door
                          tonight like a beaten dog, begging
                          me to say that you were some twenty-
                          four hour nonsense.
                             (against her will she
                              starts to cry)
                          ...and I had to tell him I thought I
                          was falling in love with...
                             (not giving an inch)
                          You couldn'a said that with your
                          clothes on?!
          Nina lets out an incoherent roar of rage.
                          Goddamn you! The wounded stud! He
                          is entitled to some dignity! To
                          lose his "pure and faithful lover"
                          without the new boy barging in!
                          Where do you suppose he is now?
                          Did ya look in the laundry hamper?
                                          - 99 -
                          GET OUT!     Get the HELL OUT!!
          Cameron crosses to the door. Searching through this madness for
          some kind of logic, turning on her.
                          I don't have any rights? I don't
                          have the right to be pissed off...?
                          You don't have the right to breathe!
                          I knew him before I met you! Do you
                          understand that?! Before I met
                          you!! If we were frightened, we
                          woke each other in the dark...we
                          slept in each other's arms...
                          The word is "fuck!"
                          All right, the word is fuck! You
                          narrow, insensitive, stupid...!
                          Don't. Don't push me. I don't know
                          this freaky world you live in, but I
                          know that there still must be a
                          couple of places where people
                          somehow believe in...
          He is at a loss for words.
                          Believe in what? You're blushing.
                          A place where what? Don't get
                          embarrassed at this late date!
                          ...A place where a guy has a right
                          to blow his top if he finds his
                          lover screwing...
                          Raymond's lover! Raymond's lover!
                          Say it! Raymond's lover!
                                       - 100 -
          Cameron, exhausted, slides down the wall and sits on the floor.
                                     NINA (CONT'D)
                          I'll have it typed up and
                          notarized...! Raymond's lover! And
                          you will sign where it says, agreed!
          He says nothing. She on the bed and he on the floor, are drained of
          all strength and emotion.
                                     NINA (CONT'D)
                          You won't turn me into some rotten
                          whore because your papa once told
                          that a woman is a certain way "and
                          that's how it's gonna be 'til
                          Gabriel blows his horn..."
                          Okay...okay. I just want to sit a
                          couple of seconds without having to
                          say a word. Because if I start
                          trying to say, "I'm sorry I caught
                          you and Raymond fucking," I'll start
                          laughing and when I laugh too hard,
                          I get the hiccups and they can last
                          for days.
                             (after a long beat;
                          Don't get hiccups.
                          Isn't anything what it seems to
                                                 - 101 -
                                    Don't you think that's kind of
                 They sit there unable to leave each other, unable to move to each
                 other. They just sit there.
                 Dailies are in progress. Eli watches, surrounded by a few crew
                 members. Cameron sits in the back row with Nina's MOTHER, FATHER
                 and SISTER. Nina is not present. On the PORTABLE SCREEN is a shot
                 of Nina as a wild, radiant eighteen-year old Austrian girl running
                 pell-mell along a willow-lined VILLAGE STREET, dodging children and
          148A   bicycles. She collides with an OLD MAN, her basket falls, its
                 contents scattering; his momentary anger vanishing as he is infected
                 with her joy of life. He helps her refill the basket and she
                 rewards him with a sausage and a kiss. The old man watches her
                 wistfully as she runs away.
          149    ANGLE ON PARENTS
                 There's a tear of pride in Nina's mother's eye. Father gently puts
                 his hand on top of hers as the room lights come on.
                                               ELI'S VOICE
                                    You okay back there?
                                    Happy as clams.
                                    She's so beautiful. Isn't it
                                    amazing how they put it all together
                 But Eli is already involved in the SCRIPT GIRL's notes.
                                               - 102 -
                                   ...132 through 40 next? Sam should
                                   see this. I think I left in a line
                                   of his dialogue.
                                      (yelling to
                                   Go ahead.
                The room dims and the film starts. We see a slate board reading
                "150A Take 1." The clapper claps and the board is removed,
                revealing an ATTIC. Nina sprawled on her stomach, stark naked, atop
                Raymond's naked body, her breasts resting on his chest, her legs
                apart, interlocked with his. They look directly at the CAMERA
                awaiting their cue with the calm resignation of two people waiting
                for the Wilshire bus. The MAKEUP GIRL appears in the shot spraying
                Nina's back and ass with glycerin sweat from an aerosol can. She
                disappears as Eli's voice on the sound track calls, "ACTION." The
                ANGLE TIGHTENS into a less revealing, more artistic composition.
                Their mouths meet. Their bodies writhe.
          152   CLOSE ON NINA'S PARENTS
                They stare at the screen in open-mouthed shock and horror. Their
                once gentle hands grip each other like iron claws, trying to squeeze
                away the nightmare.
          153   ANGLE ON CAMERON
                In shock and anger, leaning forward on the edge of his chair,
                looking from Eli to the parents, not knowing what to do to stop
          154   ANGLE ON NANCY
                She sinks down in her seat, her surprise becoming malicious pleasure
                at the reaction of her parents.
          155   ANGLE ON ELI
                                   Sweet Christ!   I told 'em to hold
                                              SCRIPT GIRL
                                      (starting to leave her
                                   I'll stop it.
                                              - 103 -
                                    (restraining her,
                                 Too late now...only make it worse.
                We hear the passionate murmurings from the screen as Eli scrunches
                down in his seat.
                The lovers convulse with erotic abandon as they approach orgasm.
          157   ANGLE ON NINA'S PARENTS
                Like a Charles Addams' rendering of a Brady tintype. Their faces
                wear the stiff frozen smiles of the hopelessly insane.
          158   EXT.   MOVIE SET - CLOSE ON NINA
                She's now made up to look like a woman in her forties. Everything
                about her tells us these have been brutal years, filled with pain
                and loss. She is reacting in anguish to something O.S. But, even
                though she manages a few tears, it doesn't quite ring true. Eli
                steps into the shot.
                                    (to the crew, O.S.)
                                 All right, save it.
                On the sidelines, as he coldly watches Eli put his arm around Nina
                and stroll her away from the crew so they are out of earshot.
          160   ANGLE ON ELI AND NINA - MOVING
                                 Nina. The shame of it...the shame!
                                 You've lost your son, your lover.
                                 You want to tear his throat out...
                                 but you stand meek...your guts
                                 burning with the shame of it.
                                 God, I don't know what's wrong with
                She has looked up at her parents, who stand off to one side like
                zombies, watching.
                                           NINA (CONT'D)
                                               - 104 -
                                Maybe it's them...I feel like I'm in
                                a zoo. Let me say bye-bye and get
                                'em on their way. It might help.
                She starts to move towards her parents but Eli puts a restraining
                hand on her.
                       better know this...don't
                                get all shook up now...
                Nina looks at him with foreboding.
                                           ELI (CONT'D)
                                Something got screwed up...the
                                The attic scene. The bare-ass attic
                                scene... I'm sorry... I don't know
                                how... it was too late to stop it...
                                your parents...
          161   CLOSE ON NINA
                She has not blinked, not turned her heard, for fear that her
                father's eyes might meet hers. She is like a statue trembling in an
                earthquake, about to shatter. The sick, loathesome shame that fills
                her, brims over and the statue's blind eyes flow tears.
          162   CLOSE ON ELI
                Tense, barely breathing.
                                   (an urgent whisper)
                                ...Roll film.
                He eases back out of view.    The ANGLE SLOWLY TIGHTENS.
                                              - 105 -
          163   CLOSE ON NINA
                As she falls apart before our eyes, and an O.S. VOICE on a PLAYBACK
                TAPE insinuates into our consciousness, echoing as though heard
                through many loudspeakers.
                                 I envy you the pride you must feel
                                 today. A young hero has fallen
                                 gloriously on the field of battle.
                Hands reach in and drape a sash around Nina's throat. From it
                dangles a SWASTIKA. For Nina, there is still no voice, no camera,
                only the obliterating shame for that image of her naked body burned
                into her father's memory. And yet, that shame is so similar to the
                shame she should be feeling as the woman in Eli's film at this
                mockery of her son's death.
                                            VOICE (CONT'D)
                                 A nation has lost a son! A mother
                                 has lost a son!
                The sound has now grown to a proportion reminiscent of those German
                newsreels of Hitler victory rallies.
                                            VOICE (CONT'D)
                                 This sacrifice in blood brings
                                 closer man's noblest dream...a
                                 thousand years of peace!
                The THUNDEROUS SOUND of ten thousand voices shouting: "Sieg Heil!
                Sieg Heil!" has shattered Nina's isolation. She is now aware that
                her personal despair has been used to accomplish an acting trick,
                and it only adds to her degradation and sense of shame, ironically
                making her performance even more poignant. The crowd on the
                playback roars with fanatic zeal.
          164   EXT.   HALL - CLOSE ON CAMERON - LATER
                Striding rapidly down the hall, looking like a man who hopes to find
                a fight, to dissipate his residual anger. He rounds a corner,
                almost colliding with Eli, who comes rapidly from an intersecting
                corridor. Eli puts his arm around Cameron's shoulder, hurrying him
                along even faster.
                                 Giddyap, soldier.   Last one there's
                                 on Medicare.
                Cameron shrugs his arm off in annoyance as they round the corner and
                hurry down some STAIRS.
                                       - 106 -
                          Where are we rushing to?    I Was
                          Trouble staying awake, huh?
          They reach the bottom of the steps and move swiftly down another
          corridor, as Eli fishes through his pockets and comes up with a
                                     ELI (CONT'D)
                          Stick of gum? Makes you hum!
                             (ignored, he chews it
                          Do you read?
                          Short words.
          Eli finds a BOOKLET he has been looking for and hands it to Cameron.
                          Schickel and Bergenstadt... couple
                          of Dutch comedy writers. See, it's
                          got pictures. But don't skim.
                          Chuck's gonna quiz you. If you
                          pass, you get a free trip to
                          Amsterdam and you can stick your
                          finger in a dike.
                             (looking at the book as
                              he walks)
                          What the hell is this?
                          A pamphlet on how to get out of a
                          sunken car. You know, they got this
                          problem in Holland...those canals.
                          So these guys are experts.
                          Did Burt read this?
                          Off hand, I'd say no, wouldn't you?
                             (hands it back to him)
                                                - 107 -
                                 No chance.
                                 There you go rejecting me again.
                Eli pushes open the double doors and they find themselves standing
                in the MAKESHIFT SCREENING ROOM.
                                            ELI (CONT'D)
                                 You've gotta think positive, Burt.
          165   INT.   SCREENING ROOM
                Jake is there with SEVERAL OTHER MEN. But before Cameron can even
                register who they are, Eli is saying...
                                 I'm sorry, gentlemen, but I've got
                                 exactly two minutes of borrowed
                                 time. I'm in the middle of a scene.
                                    (to projectionist)
                                 Get it started.
                Immediately the lights snap off and the film is projected on the
                screen. In the dark, the men in the room fumble their way to seats.
                On the projection screen we see a helicopter SHOT OF THE DUESENBERG
                APPROACHING THE BRIDGE. Cameron is suddenly alert like a jungle
                beast who's just heard the trap slam shut behind him. His eyes dart
                around at the official-looking faces staring at the O.S. film. One
                face looks disturbingly familiar, but in the dark he can't place it.
                                    (addressing a man next to
                                 This fellow here is the stunt man
                                 driving that car.
                                    (to Cameron)
                                 Thompson is from the FBI. They
                                 wanted you here in case they have
                                 any questions.
                On the projection screen, we see the DUESENBERG GO OFF THE EDGE OF
                THE BRIDGE, disappear in the water.
                                 I don't see anybody else on the
                                 road...did you, Burt?
                                             - 108 -
                The MAN Cameron couldn't recognize speaks out.
                                           OTHER MAN
                                My buddy and I saw that son-of-a-
                                bitch break out of the woods and
                                head that way, down the road.
                The lights go on and Cameron looks at the speaker, recognizing him
                as one of the TELEPHONE LINEMEN. Apparently, the lineman doesn't
                recognize Cameron in his new identity.
                                ...I had a clear view.     I was on top
                                of the pole.
                                Do you mind if we see that again?
                                Help yourself, the room is yours.
                                But I've got thirty people on the
                                set being paid for doing nothing.
                                   (moving toward the door
                                    and calling)
                                Come on Burt, you've got some
                                reading to do.
                Cameron follows Eli as the lights go out and the film begins again.
                                Hey Burt, glad you're still alive,
                                considering who you're working for.
          166   INT.   HALL
                Cameron moves swiftly down the corridor behind Eli, who starts up
                the stairs, still blithely chewing his gum.
                                Something wrong?     Why are you
                                I'm trying to figure it out.       That
                                film. Where was I?
                                How tall is King Kong?
                                              - 109 -
                                 Good boy. I got all kinds of
                                 versions. Wanna go back and see
                 Cameron understands the implied threat and Eli, knowing he has made
                 his point, continues good-humoredly.
                                            ELI (CONT'D)
                                 I've even got a version where you
                                 fly the helicopter and I'm driving
                                 the Duesenberg. It's a dilly.
          166A   They have now charged out of the building and are racing across the
                 grounds toward the set.
                                 What about the version where I go
                                 over the bridge and die in the
                                    (chewing gum)
                                 Hey, kid, what is this with you?
                                 That red dye must be eating through
                                 your scalp and affecting your brain.
                                 Why would I want to hurt you?
                                 Because you don't like my tatoo.
                                 I think it's beautiful. It's
                                 heroic! I think it's a major work
                                 that may rank with the Edsel grill!
                                 Now goddamnit, I gotta go back and
                                 do my picture! Will you take this
                                 thing and read?!
                 He holds the booklet out to him and it is very hard for Cameron to
                 reach out and take it. Out of the corner of his eye, he sees the
                 FBI MEN leaving the building, heading off in another direction. He
                 stares at the booklet.
                                 I knew a guy...who stepped on a
                                 bouncing Betty booby trap. Stepping
                                 on it wasn't his problem...they
                                 explode when you step off. So all
                                               - 110 -
                                he could do was just stand there.
                                It was getting light. If we didn't
                                get out, we'd of been shot up. So
                                we left...
                Eli has been watching him thoughtfully.
                                           CAMERON (CONT'D)
                                ...He had this screwy West Texas
                                accent, I remember, "Hey
                                fellas...hey fellas..."
                Eli blows a BUBBLE with his gum that POPS on cue as though it were
                the explosion of the bouncing Betty. Grinning, he sticks the
                booklet in Cameron's shirt pocket, turns and walks off.
          167   ANGLE ON ELI - MOVING SHOT
                Sam catches up and walks beside him toward the set.
                                Why don't you let the kid go before
                                he gets hurt?
                                Chuck keeps an eye on him.
                                He's dangerous to have around. Stop
                                playing games, Eli. Tell Jake
                                you've replaced him. What are you
                                so hooked on?
                                He helps me understand the kid in
                                our story.
                                             - 111 -
                                 He's like one of those land mines
                                 left over from a war, that go off
                                 from time to time. You read about
                                 it in the paper two or three years
                                 later...some kid in a bell tower
                                 shoots a dozen students for no
                                 reason at all...his mother says he
                                 was always such a good boy...I guess
                                 I'd like to know what he really did.
                As they reach the set, Gabe, the cameraman, charges up.
                                 Did you bring the tampax? Raymond's
                                 still acting like he's got the
                                    (with black humor)
                                 You suppose Raymond knows how to
                                 drive a Duesenberg?
          168   INT.   NINA'S BEDROOM
                Scattered about the room are suitcases, a wardrobe trunk, the almost
                completed packing for tomorrow's departure. Nina lies in bed
                staring into nothing, Cameron beside her. Each is talking aloud to
                himself, adrift in his private world, unaware they have lost contact
                with the other. The room is semi-dark, except for the nightstand
                light on Cameron's side, by which he studies the BOOKLET Eli gave
                                 ...It was so unnecessary...For
                                 Christ's sake, I'm no shrinking
                                 violet...I've had my ass pinched
                                 black and blue by account execs for
                                 not showing enough enthusiasm for
                                 Vitalis. But this from was
                                 so pointless...sadistic...
                                 ..."Open All windows slowly to keep
                                 pressure from caving in the roof,
                                 should an unexpected skid achieve
                                 aquatic consequences..." That's
                                 kind of witty.
                      - 112 -
             (still in her own world)
          ...Could've handled it later on. It
          doesn't look so raunchy after it's
          cut...Maybe I'd of got them
          stoned...something...but for Eli to
          trap them like that...
             (eyes on the book)
          Beautiful...There's a second school
          of thought that says the first
          school is all wet. It says, "Keep
          the windows rolled up tight and wait
          for the air bubble."
          Say it was an accident...benefit of
          the doubt. But then to use me that
 a gadget...Why would Eli
          do that? He's not a cruel man...
             (not looking up)
          He's not a cruel man.   He's a crazy
          man. A maniac.
          "The water pressure at two hundred
          feet can crush a man into the size
          of an egg." He wants to get that on
 he's gonna kill me.
             (jumping out of bed)
          What in God's name are you babbling
          It's a rotten shame about your folks
          and your naked ass, but dying always
          scared me a little, okay?
                                       - 113 -
                          ...and you are beginning to scare
                          me. You're talking like a wild
                          Did you know that Eli almost
                          strangled a man because he stopped
                          the camera when Burt got killed?!
                          What is going on in that head of
                          yours?! You take the word of
                          ...I saw the bruises!
                          ...And I saw Eli that night when he
                          had to tell Burt's brother on the
                          phone...I saw the tears.
                          She saw the tears! Did you ask him
                          what he was crying about?! 'Cause
                          you can bet your sweet tits, it
                          wasn't over Burt. He was crying
                          over losing his fucking shot!
          To keep from exploding, Nina opens her luggage and furiously starts
                          Didn't they give I.Q. tests in the
                          army? What did you get...minus
                          twelve? Haven't you figured out yet
                          why he's working himself to death?
                          What his film is all about? He's
                          trying to tell people not to kill
                          each other!
                          And you know what? You want the
                          shock of your life...? I understand
                          what the son-of-a-bitch is saying,
                          and he may be right...which makes me
                          what? Minus twelve, the dumb
                          schmuck with a gun. That doesn't
                          change the fact that he's crazy. If
                          he had his way, there wouldn't be a
                          soldier left alive by morning. But
                                       - 114 -
                          all he's got on hand is me. I don't
                          know if he is doing it consciously,
                          but it's a hell of an idea. If he
                          can really get it on film, a genuine
                          dumb fuck grunt cashing in, before
                          your very eyes, I mean the real
                          McCoy...that's gotta help his
                          picture...Then he's killed two birds
                          with one stone. It's got a nice
                          logic. Trouble is, both birds are
          Against her instincts, Nina is emotionally affected by what Cameron
                          Stop it...sweetheart...I'd die if
                          anything happened to you.
          The TELEPHONE RINGS. Her head whips to look at it.     It continues
          ringing, but she doesn't move.
                          It's my father...I won't talk to
                          him...You're all driving me
                          crazy...I won't talk to him.!
          Cameron calmly picks up the phone.
                          Tell them I'm not here. Tell them
                          anything. Tell them I'm working.
                             (glancing at Nina)
                          Okay, Chuck. I'll meet you in an
                             (he hangs up)
                          For me. Amazing how they keep
                          secrets around here.
          He walks over to the still-stricken Nina and tenderly embraces her.
          She leans against him, the trembling subsiding.
                          What if I told you I wasn't going to
                          do the stunt?
                                       - 115 -
                          I'd say fine.
                          And what if I told you I was gonna
                          get out of here tonight...and that I
                          want you to come with me?
                             (upset and confused)
                          But there's just one more day of
                          What if I can't wait?
                          I...I have two more scenes...
                          That's a shame.
                          ...I could meet you...
          When he doesn't answer, Nina resorts to her last defense, irrational
                                     NINA (CONT'D)
                          ...Look, don't do the stunt! If you
                          believe Eli's a killer, call the
                          police...Why are you doing this to
                          me? That's all I need right now,
                          with all I've been through!...For
                          you to give me now-or-never
                          ultimatums and tell me my director
                          is insane!...
          By now she is stalking about the room throwing things from one
          suitcase to another as Cameron silently watches her.
                                              - 116 -
                Which stands alone like Moby Dick awaiting its victim. Chuck and
                Cameron appear from behind the car, stalking it like it were the
                Sunday Special on a used car lot, Chuck the "hearty" salesman,
                Cameron the reluctant customer.
                                 Look at this mother...I'll bet these
                                 guys could build an Arabian out of a
                                 Why not?   You built a stunt man out
                                 of one.
                                 Stunt man? Three days and you've
                                 already grown those big brass balls?
                                 Jump up and down and let me hear 'em
                                 clang, and then do me a favor and
                                 leave 'em home for this gag.
                                    (yanks open the door)
                                 There's just enough room in that
                                 Duesenberg for a normal guy...who
                                    (Cameron slides in)
                                 Show me how long you can hold your
                Cameron inhales deeply and Chuck clicks his stopwatch.
                                       - 117 -
                          Now, look around. Whaddya see?...No
                          roll bar in the roof. That's
                          because the roof caving in really
                          looks gassy on film. You got your
                          protection in the back of the
                          seat...steel sheeting. If the roof
                          goes too far, you get your goddamn
                          head down quick! You listening to
                          me?!...Nod Your head.
                             (slapping Cameron on
                          You got good lungs.
                             (buckles Cameron's
                          You got no shoulder harness because
                          it would show on camera. So when
                          you hit the water, you brace
                          yourself against the steering wheel.
                          It's reinforced. You couldn't break
                          it loose with gettin'
                          light-headed yet?
          Cameron shakes his head, "No."
                          Keep your hands off the doors...
                          You're leaving through the window.
                          You lower them slowly as you sink to
                          equalize the pressure. What are you
                          waitin' for? I'm not gonna be down
                          there holding your hand.
                             (Cameron lowering
                          Slower. When you hit bottom, the
                          windows are open and you're gonna
                          make like a minnow. But first, a
                          little fresh air wouldn't hurt. You
                          reach down under the seat and, what
                          do you know, a respirator...Make
                          like you're reaching for it.
                          There'll be one there tomorrow.
          Cameron reaches for the non-existent respirator.
                                     CHUCK (CONT'D)
                          No, keep your face forward, the
                          camera is behind you and it's still
                                              - 118 -
                 By this time, Cameron's breath is giving out and he's struggling to
                 hold it.
                                            CHUCK (CONT'D)
                                 You feel like your lungs are gonna
                                 burst? Good. That's the way you're
                                 supposed to act like you feel. The
                                 moment that water gets above your
                                 nose, you gotta look like you're
                                 drowning. Remember? Burt wasn't so
                                 good at that.
                 That knocks the wind out of Cameron.
                                 He sure as hell convinced me.
                 Chuck clicks his stopwatch and scowls.
                                 Things happen crossin' the street!
                                 If somethin' goes cockeyed...screw
                                 the scene!   Get that mask on.
                                 There's enough oxygen to get you to
                                    (rolls up the window)
                                 We'll try it again.
                                    (still panting)
                                 Let me catch my breath.
                                 What you'll catch is a lungful of
                                 water! You're at the bottom of the
                                 river!...You breathe when I goddamn
                                 tell you to breathe!
                                    (the pupil tricking the
                                 Hey, Chuck, you blind?...Can't you
                                 see I've got my respirator on?
                                 You just goddamn remember you don't
                                 have gills!!
          169A   Chuck has stalked over to the WORKBENCH and angrily picks up the
                 PHONE, which has been ringing incessantly over the last few lines.
                                               - 119 -
                                    (listens, then yells to
                                 Eli's at the police station!
                                 That's the best news I've heard.
                                 Let's hope it's a felony.
                                 He needs Gabe. They're lookin' for
                                 a driver so I'm gonna take him.
                                 Come on with me.
                                 For what?
                                    (climbing into the
                                     company car)
                                 You and me are gonna talk about
                                 windows and oxygen and seat belts
                                 and things like that. And if you're
                                 a good boy and listen and don't be a
                                 smart ass, maybe I'll let you sit in
                                 the back seat with Nina Franklin.
                Chuck, already in the car, is grinning.   Now he's even for the
                "respirator" bit.
                                 You might even get to hold hands.
                The POLICE STATION comes into view, seen through the window of the
                company car, which slows as it moves toward the curb. Eli, sitting
                on the front stoop, leans wearily against the stone lion. As he
                sees the car approach, he moves toward it quickly, opening the door
                almost before it stops.
                                             - 120 -
                                Gabe, Nina...
                Eli pulls Gabe and Nina toward the police station, yelling back to
                Cameron and Chuck.
                                           ELI (CONT'D)
                                You two better wait here.
                Cameron watches them, confused, as they start up the steps toward
                the station house.
                                I hate this, damn it! Couldn't you
                                have done it without me?
                                Let's say you owe it to him. Until
                                two or three days ago, I had a
                                pretty good actor on my hands. Next
                                time you take out the clippers, be a
                                little humane, make sure the guy's
                                got one to spare.
                                What did you want me to do? Take
                                him in the back room and unzip his
                                fly every time he fluffed a line?
                                What else can I do for your film?
                                Just get your greedy little ass
                                inside and make sure you give the
                                performance of your life.
                                This next number, I dedicate to
                                             - 121 -
          172   INT.   POLICE STATION
                As the three enter. The station is old with a high sergeant's desk
                and wooden benches against the walls. Raymond, beyond tears,
                destroyed, sits among the other refuse of the night: derelicts,
                stoned kids, etc. On one bench is a SAILOR, with that adenoidal
                look that betrays the weakness he tries to hide with his "butch"
                arrogance. Jake, in the doorway of his office, savors the fact that
                he has finally nailed Eli Cross. Eli captures the setup in a
                glance...then, instant theater. He strides across the police
                station to Raymond, takes his head in his hands and kisses him smack
                on the mouth.
                                 Who's better, booby...him or me?
                Gabe has come up behind a PATROLMAN, grabs him by the hips and
                starts humping like a dog in heat. The policeman shrieks in dismay
                and tries to escape, but Gabe trots along as if they were locked.
                                 Jake! Throw some water on him,
                                 quick! Only way to get 'em apart!
                Gabe is now distracted by the sight of the sailor, who is agape with
                growing disbelief. Gabe ogles him.
                                 Yummy...look at the seafood! You're
                                 a humpy little number.
                                    (then to Raymond,
                                     stamping his foot)
                                 You nasty boy. You could've died of
                                 mercury poisoning.
                The sailor leaps to his feet in horror, screaming.
                                 Jesus Christ, they're all faggots!
          173   ANGLE ON SERGEANT'S DESK
                Eli has stormed to the counter and slams his fist down on it
                furiously, confronting Jake.
                                             - 122 -
                                 I'm registering a complaint! Thirty-
                                 two members of my company got V.D.
                                 from your local virgins. The
                                 Chamber of Commerce didn't say
                                 anything about that in their
                                 You can stop clowning, Eli, I've got
                                 a sworn complaint from this
                                    (jabbing his finer in
                                     Raymond's O.S. direction)
                                 ...Your man over there touched his
                She is snuggled against him tenderly, her open mouth kissing his
                neck and cheek. Raymond, although aware of his desperate situation,
                is too sick with self-loathing to respond.
          175   ANGLE ON ELI AND JAKE
                                 Oh, Jake! Come on! You wouldn't
                                 know your anal invert from a hole in
                                 the ground. Raymond makes bad
                                 jokes, but they're not illegal.
                                 Christ, you've seen us all on the
                                 set...clowning around.
          176   EXT.   POLICE STATION
                Cameron stands, peering in through the big front window, feeling
                once again betrayed. It's like watching TV with the sound shut off.
                From here, Nina and Raymond are very convincing. Chuck leans
                against a lamppost, smoking a cigarette, as the charade goes on.
                                              - 123 -
          177   INT.   POLICE STATION
                Eli now going full blast.
                                 My company's been pouring sixty
                                 thousand dollars a week into this
                                 place, for which your mayor and
                                 governor seem very grateful! We
                                 paid enough in taxes and fees alone
                                 to buy you parking meters from here
                                 to the boardwalk!
                                    (feeling it's all going
                                 Everything I said in that statement
                                 is the flat-ass truth!
                Eli pays no attention, knowing that he's got Jake.     He gestures
                toward Nina embracing Raymond.
                                 Jake, I got a very horny leading
                                 lady who's got an early call and
                                 would like to spend some time with
                                 her boyfriend before she makes
                                 "night-night." Now, can I please
                                 get 'em outta here before they
                                 really do something illegal...and in
                                 front of witnesses!
                It's three o'clock in the morning. The corridors are empty as the
                elevator door swings open and Nina and Eli step out and move down
                the hallway, functioning on their last ounce of nervous energy.
                                 Sorry I had to put you through that.
                                 I know it was humiliating.
                                 ...It was awful...I hated it.   But
                                 you did save that man's life.
                                          - 124 -
                          Yeah, that was really nice of me.
                          I'm a nice person. I just wish I
                          had the strength to go to his room
                          and break his spine. On the last
                          day of filming the queen decides to
                          come out of the closet! Wouldn't
                          that have made a lovely headline?
                          You understand, of course, that the
                          film would've been destroyed. Doing
                          that to me...
                          Eli, what's wrong?
                          Nothing serious.     Just a little
                          self-indulgence.     Feel-sorry-for-
          Eli, on the edge of nervous exhaustion, is actually close to tears.
                                     ELI (CONT'D)
                          I'm sorry, but you's too
                          goddamn much. Why's everybody on my
                          back? When's somebody gonna say,
                          "There, there Eli?" I'm really
                          surrounded by friends, allies and
                          you..."What else can I do for your
                          film, Eli?"
                          That's not fair.
          They have reached a turn in the corridor where each would go his
          separate way. They stop.
                          What's not fair...getting my
                          feelings "hurt?" When did I lose
                          you to that soldier boy, Nina? That
                          nice, wholesome, swell-looking
                          kid...wanted by every cop, the FBI
                          and God knows who else, for God
                          knows what crime.
          Nina is paralyzed with shock.
                                                - 125 -
                                            ELI (CONT'D)
                                 Come on, Nina, those blue eyes have
                                 bedazzled our little girl. For
                                 Christ's sake, he reeks of blood.
                                 You sound as crazy as...
                                    (she stops)
                                 As who?
                                 He thinks you're trying to...
                                    (she can't say 'kill')
                                 ...harm him.
                                 Any number of people are trying to
                                 harm him...
                He walks off down the corridor.
                Partly crated props and costumes, luggage belonging to the departing
                film crew is piled against the wall and on shelves. In the
                cavernous half-lit room, Cameron, once again the coiled, stealthy
                animal, moves through the shadows among the racks of suitcases,
                pulling them aside, searching. Discovering one, he sets it on the
                floor. It's locked. With a metal bar, he breaks the lock and
                eagerly rifles the contents. Then, sensing a presence, he turns.
                There stands Nina at the base of the steps watching him. With only
                a glance to her, he goes on with his search.
                                 How'd you know I was down here?
                                 The desk clerk...
                He finds a WALLET, opens it, getting to his feet triumphantly.
                                 How about that for luck? Burt's
                                 from picture on the
                                 driver's license.
                Cameron stuffs the wallet in his pocket, moving along the row of
                suitcases. He pulls out a duffel bag, unzips it, shaking the
                                              - 126 -
                 contents on the floor. Now with the open bag on his arm, he goes
                 along the row of costumes and props like a man in the supermarket,
                 stuffing in things he will need: a pair of hiking boots, a couple
                 of work shirts, a heavy jacket. Passing a shelf of bayonets, he
                 picks one out and throws it in the bag.
                                 Who are you?
                                    (ignoring the
                                 Name it...
                 Above the bayonets are army helmets.    He tries one on.
                                            CAMERON (CONT'D)
                                 Hey, how's this? A World War One,
                                 uh...what did they call 'em?...
                                 dogfaces... somethin'... doughboys.
                                    (flings a nurses uniform
                                     at her)
                                 Wanna be the nurse?
          179A   From some hospital props, he grabs a wheelchair and shoves it toward
                                            CAMERON (CONT'D)
                                 ...You tell me this wouldn't work?
                                 A pretty nurse pushing a vet in a
                                 wheelchair? When we hit that
                                 roadblock, we'd have 'em crying like
                                 Who the hell are you?
                                 Somebody trying to stay
                                 alive...anybody--that can get past
                                 the dogs and the quicksand...
                                    (making a shrewd guess)
                                 Who did Eli say I was?
                                 I'm asking you, God damn...
                 She has fiercely grabbed his naked shoulder.
                                       - 127 -
                          Easy with that mighta
                          lost me Eli, but it won me Lt. Emily
                          Schmidt, the greatest boobs in
                          Southeast Asia...and a very
                          patriotic chick. So I got this
                          tattoo, for 28 bucks. And when she
                          saw this shoulder, let me tell ya,
                          holy Jesus! Following which I got
                          the clap from the Lt. And hepatitis
                          from the tattoo needle. You know
                          what bothers me? I think Emily is
                          gonna be very offended by Eli's
          Nina cannot endure another moment of this charade.
                          Why do they want you?   What did you
                          Eli'd tell you...I was a soldier. I
                          did the same as everybody, just one
                          of the boys... emptied my M-16 at
                          any sound... don't know whether I
                          killed gooks or cherries...the new
                          kids from the States, we call 'em
                          cherries, which they were for maybe
                          fifteen minutes. The dry season is
                          when it really breaks loose. You
                          get very tired. It's like falling
                          asleep at the wheel. You close your
                          eyes and it still goes on. You're
                          killin' them, they're killin' you.
                          Couldn't tell ya now what was real
                          except I'm here.
          We sense in him the fatigue he is describing, then, pushing aside
          that memory.
                                              - 128 -
                                            CAMERON (CONT'D)
                                 Hey, once when things were rough and
                                 the grass ran out, I shot the hell
                                 out of a water buffalo.
                                    (he considers, then passes
                                     judgment on himself)
                                 Actually, I wasn't a bad
                                 soldier...better than most. Got
                                 lotsa pretty ribbons. Funny...sort
                                 of like when I did that first stunt
                                 and everybody started clapping...
                                 nothing like a slap on the back to
                                 ruin a man, blow his sense of
                                 proportion. So, I got home...and,
                                 uh...I guess I expected something.
                                 Nothing fancy, but... something, you
                                 know...a free car wash, double blue
                                 chip stamps, extra time on the
                                 parking meter... I don't know...
                                 Instead, people... uh, didn't seem
                                 too pleased.
                                    (trying to hide a lot of
                                 In fact, they acted like I was gonna
                                 start killing babies...
                 She crosses to him, deeply moved.
                                            CAMERON (CONT'D)
                                 Shit. I was supposed to get
                                 married, run an ice cream parlor.
                                    (picks up his suitcases)
                                 I gotta go.
          179B   Although they're standing only a couple of feet apart, he lifts his
                 hand tentatively, as if to wave goodbye.
                                 ...What about the roadblocks?
                                 I'll go through the woods.
                                 Don't you suppose there'll be cops
                                 in the woods.
                                              - 129 -
                                 I suppose there are cops in the
                                 woodwork! But what the's
                                 a nice night.
                                    (he starts to go)
                 Lovers facing farewells have a gift for suspending time, and Nina
                 speaks out, unable to let him leave.
                                 I've always liked the woods at
                                 night. They're very romantic... You
                                 can hunt for truffles. It might be
                                 such fun, we'd just keep going.
                 Cameron can't afford to fall for her softness.
                                 You said "we." What about your two
                                 That's true...One of them is three
                                 pages of me making a tunafish salad
                                 for an American flyer in 1917... And
                                 I've got to weigh that against
                                 losing the man I love. It's a big
                                 Nina, you're making me crazy.
                                 I'm sorry. I'm a little crazy
                                 myself. I can't let you go and I
                                 don't even know who you are.
                                    (suddenly the dam bursts
                                      and all self-control is
                                 Why are they chasing you?! What
                                 have you done? What happens to me
                                 in the woods? Will I need a bayonet
          179C   He stands there, staring at her, his face suddenly savage. After
                 everything, the lady is afraid of him. He picks up the duffel bag
                 and moves for the door, then turns on her, punishing her with his
                                              - 130 -
                                 The charge was attempted murder. I
                                 bashed this cop's head in. It took
                                 the jury about two fucking minutes.
                                 It could of been worse. It could of
                                 been life. But the judge...he
                                 looked real nice at me, and said you
                                 were a damn good soldier, son...So
                                 he only gave me twenty years. No
                                 way! Enough!...You know how long I
                                 was in that prison -- nineteen
                                 months -- and then I was gone! I
                                 was gone!
                 She stares in shock and horror.   His anger is like ice.
                                            CAMERON (CONT'D)
                                 Caught me breaking into a
                                 store...oh, not to rob it...I went
                                 there to kill the bastard who owned
          179D   Suddenly the ice turns to steam. His self-control shatters like
                 glass. There in the basement of a 100-year old hotel, before an
                 audience of one, Cameron ERUPTS, spewing out the memory of his
                 mortification and crucifixion...not without the silent resignation
                 of Jesus, but with the howling rage of a mad dog...Pluto with the
                                            CAMERON (CONT'D)
                        seemed like a good
                                 idea to twist his fucking head off!
                                 Said I could be his partner when I
                                 got back...lyin' son of a bitch was
                                 "real sorry things were slack..."
                                 Slack my ass...he just didn't want
                                 me hangin' around because he was
                                 bangin' my old lady. So I go down
                                 and start bangin' on his door!
                                    (he starts pounding on
                                     the mirror)
                                              - 131 -
                                            CAMERON (CONT'D)
                                 ...He's closed. It's two o'clock in
                                 the morning. I want to smash his
                                 face in and he's closed! "OPEN UP,
                                 YOU BASTARD."
          179E   Cameron's fist SMASHES his own face in the dressing table mirror.
                 His reflection crazes and falls to pieces.
                                 Your hand!
                 Cameron holds up his fist to her, shaking it in glee.
                                 Bang! That bright, shiny front
                                 window went bye-bye!
                                    (reveling in his own
                                 ...Maybe he's screwin' her behind
                                 the counter...I climb in there
                                 screamin' "WHERE ARE YA? Come out
                                 here and be a man! Where are ya?
                                 Behind that counter, you son-of-a-
                 Cameron kicks over the makeup table as though it were the
                 counter...tubes and glasses shatter all over the floor.
                                            CAMERON (CONT'D)
                                 Ya know what's behind that
                                    (the ultimate horror)
                                 CREAM..." and all that fuckin'
          179F   There is a rainbow row of makeup jars and hair tints. He starts
                 HURLING them against the wall where they smash, punctuating his
                 speech with bursts of gooey color.
                                            CAMERON (CONT'D)
                                 ...And these little Mickey Mouse
                                 faces on the walls!...with candy
                 He pauses, catching his breath, as another image emerges from the
                 swirl of memory.
                                           CAMERON (CONT'D)
                                                - 132 -
                                      (tense and frightened)
                                   ...Then...I see this thing glowing
                                   in the dark...I hit that floor so
                                   fast. Christ, I nearly swallowed my
                                   heart. That second I was
                                   was Charlie...a cigarette butt, some
                                   guy on a V.C. Patrol!...
                                      (his panic subsides)
                                   Know what it was? It was the
                                   GODDAMN PILOT LIGHT ON THE HOT FUDGE
                                   MACHINE!! That did it! That DID
                                   IT! HOT FUDGE?! Me buried in shit,
                                   being the damn good soldier the
                                   judge said I was, yes sir, people
                                   sitting there on their fat asses
                                   feedin' their fat faces. "Can I
                                   have an extra cherry? Can I have an
                                   extra cherry?"
                 Cameron rips Denise's electric hair dryer from the wall and hurls it
                 across the basement.
                                              CAMERON (CONT'D)
                                   I smashed that fucking fudge pot
                                   across the room, smack into that
                                   shelf full of animals...and it
                                   starts raining pussycats and monkeys
                                   and kangaroo cookies like Noah's
                 The   hair dryer smashes against a shelf, toppling ammunition boxes
                 and   bottles onto the carcass of a disassembled World War I airplane.
                 The   propeller topples and falls through a German recruiting poster,
                 and   just out at the Kaiser's crotch.
                                              CAMERON (CONT'D)
                                   "How long should a girl wait" she
                                   says? FOR GODDAMN EVER, BITCH,
                                   THAT'S HOW LONG!
                 Cameron's hands have come to rest on a metal laundry bin.   He grips
                 it and lifts it over his head.
                                              CAMERON (CONT'D)
                                   I picked up this fifty-pound ice
                                   cream vat...FLAVOR-OF-THE-MONTH!...
                                   I started running with that son-of-
                                       - 133 -
          Cameron starts running across the room and just as he's about to
          hurl it, he COLLIDES with a jutting shelf, which knocks him flat on
          his back. The shelf falls and thirty or forty one-gallon PAINT CANS
          cascade on top of him. It looks disastrous. Nina runs to him,
          terrified, but before the last can has even come to rest, Cameron
          emerges from the pile of cans, throwing them aside, still thrashing
          and screaming as he struggles to his feet.
          At the sight of him, Nina starts laughing. But Cameron, who has
          somehow managed to keep his grip on the laundry basket, raises it
          over his head as if nothing has happened, hurls the clothes bin,
                                     CAMERON (CONT'D)
                          SCOOP THAT UP YOUR ROYAL BAVARIAN
                          STRAWBERRY SNATCH!
          With the effort, Cameron's feet fly out from under him as if he had
          stepped in oil. In fact, he has stepped in paint, and lands flat on
          his ass in the green goo. Nina "bracks" out an uncontrollable
                          It's not funny!
          Shamed, Nina runs to him.
                          Oh, baby...
          But, as she reaches him, her feet too are caught in the paint and
          she slides forward like an ice skater, spraddling him, landing on
          her ass. His rage vanishes as he points at her, breaking into a
          fiendish, uncontrollable cackle. These pratfalls are a catharsis
          that has released the pressure and the madness. They attempt to
          gain their feet, skidding and sliding in the paint. He succeeds,
          but Nina fails.
                             (through laughter)
                          Let me go to the bathroom.   I'm
                          gonna have an accident.
                                       - 134 -
                          You'll miss the main part! Killer
                          Cameron's ghastly crime! I was
                          freaked out of my head! And,
                          suddenly there's this big flashlight
                          shining in my face. I just grabbed
                          that goddamn ice cream bucket and
                          slopped it...right over the guy's
          Although Cameron's got nothing in his hands, he pantomimes swinging
          that fifty-pound ice cream bucket around in the air, losing his
          balance and landing on his back in the paint beside Nina. Her
          hysteria is renewed, but Cameron stops laughing.
                                     CAMERON (CONT'D)
                          It's not funny. It wasn't him. It
                          was a cop. I got out of there like
                          a shot. I didn't know he was
                          knocked out. How the hell did I
                          know he was gonna lay there all
                          night with his head in the ice
                             (suddenly serious)
                          Oh, my God. He died?
                          No, he's in the hospital.
                          Oh, no.
                          Oh, yes.   That ice cream's goddamn
                             (struggling for a proper
                          His froze and his ear
                          froze, see...and...
          Despite the horror of it, Nina starts giggling.   She can't help it.
                                     CAMERON (CONT'D)
                          No, it's terrible!...He lost the tip
                          of his nose and his ear lobe...
                                              - 135 -
          179H   Then, Cameron, realizing the absurdity, starts giggling too. Out of
                 control, Nina scrambles to her feet and dashes for the ladies room.
                 Cameron follows her to the door, still talking as it closes behind
                                             CAMERON (CONT'D)
                                  I'll tell ya, it's a bad year to
                                  mess with cops. You get the FBI
                                  screaming down on your ass...
                                     (through the door)
                                  Oh, God. Too late...Thanks a lot!
                 Abruptly, Cameron's energy is gone. The hilarity is over.   He leans
                 his forehead against the door in exhaustion and despair.
                                  ...If we woke up Eli and told him
                                  about the ice cream...would he
                                  forgive me and call off the
          180    INT.   GARAGE - PRE-DAWN
                 The DUESENBERG STANDS silhouetted in the darkness, light glinting
                 dimly off it like the gleam from fine wood of a splendid coffin
                 waiting in the slumber room before services begin. Behind it, a
                 side door of the garage opens. But it is not visitors coming to pay
                 their last respects, it is Cameron and Nina. He is wearing Burt's
                 Nina moves quickly to a WHITE CONVERTIBLE as Cameron crosses to the
                 big overhead garage doors and hits the electric SWITCH. NOTHING
                 HAPPENS. He flips another switch and harsh overhead lights
                 illuminate the reality of the garage. Nina has started the
                 convertible, as Cameron tries to lift the garage door handles.
                                  How the hell d'ya open this thing?
                                             VOICE (O.S.)
                                  Sorry, folks, it's locked.
                 Nina gasps. Cameron whirls towards the voice. A COP with a big
                 flashlight stands in the open doorway peering in at them.
                       - 136 -
          We know it's locked.   Would you open
          up for us?
          Can't...not 'til seven o'clock.   Mr.
          Cross's orders.
             (the actress)
          I'm sure Mr. Cross will understand
          when you tell him that Miss Franklin
          had a sudden desire for Swedish
          pancakes for breakfast and this
          gentleman had a sudden desire to
          keep me company...I'm Nina Franklin,
          the star of the film.
          Pancake house don't open 'til eight.
          That's all right, we'll find some
          Town's closed up pretty tight this
          time of night.
          Then we'll drive to Cape Long.
          Ya'll never get through the
          Why not?
          Chief's orders. Mr. Cross didn't
          want any members of the company
          leavin' town tonight. Guess he
          wanted everybody good and rested for
          the last day.
             (he grins)
          Figure it's no secret about the
          Chief hopin' this is the last day...
                                       - 137 -
                          Are you telling me that if I decide
                          to take a drive at any time of the
                          day or night or whenever I damn
                          please, I need Mr. Cross's
                          permission? Mr. Cross does not
                          control me or anyone else, including
                          this gentleman and he does not
                          control the public roads!
                          No, but the police do. I'll wake
                          Mr. Cross up and ask him if you
                          want, but it's an awful hour.
                          Should be somebody in the hotel
                          kitchen by now. I'll get 'em to
                          rustle somethin' up for you. Maybe
                          not pancakes, but eggs, if you want
                          I think the lady had her heart set
                          on pancakes, but thanks.
                          Okay. You change your mind, call...
                          I'll be around.
          He leaves. The officer is gone and so is their plan. They're in
          limbo...people in a waiting room whose flight has been cancelled.
                                       - 138 -
                          I can't believe it...He knows. The
                          son-of-a-bitch knows whatever I'm
                          thinking. I'm beginning to feel
                          like something that Sam wrote! I'm
                          not real. I'm some jerk American
                          flyer from World War I who has to go
                          over a bridge and die because the
                          goddamn script says so! It's
                          crazy...I'm trapped in his goddamn
                          story. If somebody lost that page,
                          I'd be fine. If he crossed it out
                          and wrote something else like -- "At
                          the last moment, he veers the big
                          car from the railing--then goes
                          speeding on to live happy ever
                             (he looks at the
                              Duesenberg appraisingly,
                              then grins as a plan
                              starts to form)
                          ...How about that?! Empty road, me
                          out there all alone, the crew 'way
                          back, breathless as I approach the
                          bridge. And then..."Hey, what
                          happened?!" A fucking rewrite's
                          what happened! I'll have a fifteen-
                          minute jump on them before they
                          figure out they're shooting a new
          Nina has come to life, her eyes aglow like a shrewd little girl
          who's already decided how the fairy tale will end!
                          ...And what about the love story?
                          What happens to the Austrian girl?
                          People will leave the movie feeling
                          terrible...I know! She goes with
          Nina has walked around to the back of the Duesenberg and opens the
                          In here.
                                        - 139 -
                          Not bad. But, I think they arrange
                          to meet in a Greyhound
                          Bus station a couple of towns away.
                             (she climbs in)
                          See how big it is? Comfortable,
                          too...Honestly, honey, it's a better
                          Nina, get out of the trunk.
          The pretending has ended.
                          And what happens in the morning? Do
                          I show up on the set in my little
                          pink pinafore and say, "Hi, Eli.
                          Where's my hug and kiss...?" How do
                          I do that now?
                          ...Get out of the trunk.
                          ...Or should I trot up to my room to
                          catch a couple of winks and cuddle
                          up with a dozen sleeping pills?
                          It's my nightmare...Stay out! This
                          isn't the time to solve your
                          neurotic problems! I'm trying to
                          stay alive!
                             (shouting back)
                          So am I. And I never claimed not to
                          have "neurotic problems!"
                          Oh, for Christ's sake...
                                              - 140 -
                                 ...They come with the body!    It's
                                 all one. A package deal!
                The shouting ends...and in despairing silence, VOICES of approaching
                WORKMEN are heard, grumbling that the coffee's late.
                                    (urgent whisper)
                                 Nina, please, there's somebody
                                 coming. Get out of the trunk...
                As we glimpse the WORKMEN in the doorway, she reaches up, grabs the
                inside of the trunk lid and pulls it down, disappearing from sight,
                as the trunk slams shut.
                In the stillness, as the morning sun crests the trees, their shadows
                move like a parting curtain, leaving sunlight to warm the old stones
                of the abandoned road. The ancient bridge spans the black river,
                idling toward the sea. It is a perfect day, tranquil except for the
                faint distant "rumbling" intruding into our consciousness. As it
                grows louder and LOUDER, a flock of birds is frightened from the
                trees, a rusty beer can by the roadside begins to tremble and roll
                from the vibration.
                Rounding the bend of the road into view are a half-dozen kids on
                bicycles, peddling furiously, laughing and yelling and looking back
                at what now appears behind them: the first vehicle of an incredible
                carnival parade -- or is it a funeral procession? Long, short,
                tall, fat vehicles; the stretch-out car, the cab towing portable
                toilets, the tractor pulling a generator rig, the Cortez Camper
                dressing rooms, the stake-bed loaded with reflectors rattling like
                radar screens, panel trucks with studio emblems, a vintage German
                army truck filled with soldiers, patrol cars and motorcycles, the
                huge, bright yellow construction crane on its Caterpillar treads,
                its pneumatic snout jutting forward thirty yards like a morning
                hard-on sniffing around for some tunnel to hump -- a few technicians
                straddle it having their morning Danish and coffee. In the midst of
                these, on a low-slung flatbed trailer rides the Duesenberg -- the
                coffin on its caisson.
                The caravan grinds, hisses, wheezes to a halt and the A.D., astride
                the hood of the first vehicle, dismounts and raises his electric
                bullhorn to begin what will be an incessant squawking of
                instructions, reprimands, coaxings and complaints.
                                             - 141 -
                                All right, people...the rest period
                                is over. Another fifteen minutes
                                and we start losing sun. Come on,
                                let's get the equipment off those
                The Second A.D.'s run around like sheepdogs herding the laborers,
                snapping at their flanks, barking their instructions over electric
                                           A.D. (CONT'D)
                                Chuck...Chuck Barton, where do you
                                want the Duesenberg?
                Grips and laborers are carrying the big reflectors through the brush
                into the hills.
                                           A.D. (CONT'D)
                                Mr. Cross, please. The camera
                                crew's ready for a setup.
                They are already huddled, squatting on their haunches under a tree.
                                The R-35 in the chopper on the maxi-
                                mount, the underwater Imo in the
                                I'll hide an Arri with a zoom up on
                                the hill.
                                And what about number four? Maybe
                                hang a platform under the bridge
                                with the speed camera?
                                Heavy...From the top of the screen
                                right into the water...squish.
                Being rolled up to a mark in the center of the road. Crewmen swarm;
                in and under it, tuning, polishing, testing, installing camera,
                sound, electrical equipment, as Chuck hovers over them.
                                             - 142 -
                                All drivers, please...I want every
                                equipment vehicle back behind the
                As motors rev, the two sheepdogs squawk: "Out of sight..." "Behind
                the bend...," then are lost in the rising dust of their herd.
          184   ANOTHER ANGLE
                Cables are being strung out of sight along the side of the road,
                snapped into junction boxes that spread their electrified tentacles,
                strangling the landscape.
                                   (pointing at the mike boom)
                                What's that supposed to be, Ralph?
                                ...An elm or an oak? Get that mike
                                off the boom and into the bushes.
                                Come on, people, let's think! We're
                                losing the sun!
                Gabe, Chuck, the A.D. and a Technician move down the road toward us,
                shoulder to shoulder, halting on the bridge. Chuck and Gabe move to
                the stone railing. Chuck taps on it, producing a hollow sound.
                Gabe, examining a corner of this false section...
                                   (to A.D.)
                                Have 'em touch up that corner of the
                                section. It looks phony as hell.
                The A.D. has been drawing a chalk line across the road.
                                   (to Technician)
                                Climb down there in the bushes and
                                stay out of sight.
                                What about earphones?
                                Just watch your mark.
                                                - 143 -
                Behind it, the last of the equipment trucks is being jack-knifed out
                of sight. A row of reflectors stand like sentinels on the hill,
                bathing the Duesenberg in light. Workmen swarm about it like ants
                on the queen's birthday.
          187   ANGLE ON ELI
                                   (into walkie-talkie)
                                Where's the chopper? We'd kinda
                                like to have you join us...if you
                                can find the way.
                                   (over walkie-talkie)
                                Fifteen minutes, Eli. We're just
                                warming her up.
                Eli grabs an electric horn from the hand of a passing A.D.
                                All right, everybody...may I have
                                your attention, please?
                Instantly the frantic A.D.'s begin squawking, "Everybody put down
                what you're doing, the director wants to talk."
                                   (thru speaker)
                                This is the one and only Duesenberg
                                we have in stock. When that car
                                goes into the water, we're not going
                                to see it again. So, once the
                                action starts, no matter what
                                happens, keep it going.
                As Cameron steps out through the open doorway, buttoning his
                                           ELI (CONT'D)
                                ...We must have this shot.
                                Therefore, I now order no camera to
                                jam and no cloud to pass before the
                                              - 144 -
                As Cameron moves toward it uncertainly. Eli, some distance away,
                surrounded by members of his crew, glances up.
                                How ya doin', soldier? Where'd ya
                                learn to do without sleep?
                Without awaiting an answer, Eli returns to his work, as Cameron
                approaches the Duesenberg.
          190   CLOSE ON DUESENBERG
                Cameron walks around it, testing and checking, but moving
                relentlessly toward the humpback trunk. A horn honks and a police
                car slides up. Jake leans out the window, waves at Cameron
                                How do you guys get accident
                                insurance? Must cost you an arm and
                                a leg...
                                ...that's a good one.
                He drives on toward a parked German army truck, in which lounge
                several soldiers. Chuck approaches Cameron.
                                You're lookin' real strong, kid. Is
                                that loose change I hear jinglin' or
                                are they beginnin' to grow?
                                Wanna check?
                                C'mon, lemme show you this truck...
                They walk towards the German truck.
                                           CHUCK (CONT'D)
                                I'm sending it on ahead. During the
                                gag, it's gonna be comin' down the
                                road towards you when you get to the
                Cameron tenses at this information.
                                              - 145 -
                                            CHUCK (CONT'D)
                                 Relax, what does it change? I'm
                                 only tellin' you so you don't buzz
                                 off into space when you see 'em.
                                 They'll be shooting at you and
                                 that's what's supposed to make you
                                 go into the river.
          190A   They've reached the truck where Jake stands proudly. The Property
                 Man is handing out rifles and boxes of bullets to the German
                 soldiers, whom we now recognize as police officers from the town.
                 One cop, tying his shoe, lifts his head and grins at Cameron like an
                 old buddy -- the officer from the garage last night.
                                 Hey, you ever get those pancakes?
                                 ...My boys...Can't recognize 'em.
                                 How could I say no, after all the
                                 crap they've taken because of this
                                 company the last six weeks?
                                 Yeah, a cop'll do anything for fifty
                                 bucks, even be an actor.
                                            SECOND COP
                                 These guns are kinda modern for
                                 World War I.
                                            PROPERTY MASTER
                                    (to Chuck)
                                 You want me to drive back and get
                                 the old ones.
                                 Shit...forget it. How much'll they
                                 see from the helicopter?
                 If Cameron was upset by the change in the stunt, he is now really
                 unnerved by the sight of those cops with guns. The second cop is
                 loading cartridges.
                                                 - 146 -
                                       (starting back to
                                    Hope those are really blanks.
                                               SECOND COP
                                    Don't say so on the box!
                As Cameron arrives and casually leans against the trunk and then
                gently taps. He must get Nina out of there. With determination, he
                reaches for the trunk handle. Arms wearing the same costume as his
                own reach in, holding the trunk closed. It is Raymond.
                                    No need to look... If she loves
                                    you, she's still there. If she
                                    doesn't...then it doesn't really
                                    matter...does it?
                How can he know?     -- Everything is out of control -- a voice calls.
                                               TECHNICIAN'S VOICE
                                    Hey, Lucky, we need you!
                He turns and moves numbly to the car door.
                                               TECHNICIAN (CONT'D)
                                    Get in, will ya?
                Dazed, Cameron climbs behind the wheel.
          192   INT.   DUESENBERG
                                               TECHNICIAN (CONT'D)
                                       (leaning in passenger's
                                    Look straight ahead, can you see
                                    that red light out of the corner of
                                    your eye?
                A tiny red light is mounted in the corner over the windshield.
                                               TECHNICIAN (CONT'D)
                                    That'll let you know when the film's
                                    running, so be sure you don't turn
                                    your face to the camera.
                                       - 147 -
          The technician tightens a final screw on the red light then, leaning
          back out of the car, yells O.S.
                                     TECHNICIAN (CONT'D)
                          All right, bump it once.
                             (to Cameron)
                          Does it work?
          Cameron, barely hearing, looks straight ahead without response.
          Jake lounges at the driver's window, kibitzing the operation.
                                     TECHNICIAN (CONT'D)
                             (yells O.S.)
                          Bump it again.
                             (looks back into the car)
                          CAMERA ON?
                             (by reflex)
          The words "CAMERA ON" sound exactly like "CAMERON." It sounded as
          though his real name was called and he automatically answered. Has
          his identity been exposed? His eyes widen. The technician, getting
          no response, calls to Jake.
                          Ask him if it's on?
          He whirls to see Jake staring at him. His hand darts to the
          ignition key, the engine roars to life.
                                     JAKE (CONT'D)
                          Hey, they wanna know is the CAMERA
          Cameron realizes his error, but it's too late, he's in a panic. In
          his mind, he's given himself away. The road ahead is clear -- GO!
          He jams the car in gear and slams the accelerator to the floor. The
          Duesenberg leaps forward, screeching wildly. In its wake -- chaos.
          Everyone running, yelling...
                          That crazy bastard!     Who cued him?
                                                 - 148 -
                                    Not me!
                                       (cold; urgent)
                                    Roll! Roll the film! Move your
                                    asses -- I want that shot!
                At their master's voice, they leap.
                                    End markers!
                                              SOUND MAN
          193   INT.   DUESENBERG
                Speed. The needle hits sixty-five -- seventy -- climbing fast.
                Cameron grips the wheel, looking at that empty road. An involuntary
                shout swells up and escapes his mouth.
                                       (toward Nina in the
                                    Hang on to everything, baby, we're
                                    on our way! You okay?
                The needle hits eighty -- eighty-five. Ahead, the bridge is rushing
                toward us. Now the arches of the stone railing are strobing past.
                Through them, he sees the black river which he has escaped.
                Triumphantly, his hand rises, middle finger extended. Suddenly the
                red camera light goes on, the underwater camera behind him begins
                whirring. He moves his finger behind him for a perfect close-up,
                (recalling that moment in the tower):
                                    Shoot this, Eli!
                The center of the bridge is an instant away, an approaching blur.
                Crouching -- tensely watching the chalk line on the road as the
                Duesenberg flashes past. His finger presses a button.
                                              - 149 -
                Blam! The whole front wheel of the car is blown off by an explosive
          196   ANOTHER ANGLE
                The Duesenberg drops on one axle. Metal screams against stone, as
                though it were Cameron himself, screaming. Skidding, spinning,
                tearing through the papier-mache railing, plunging out of control
                into space, where it hovers for a brief instant and arcs downward
                like a dying bird.
                A cry of such anguish and despair.
                The river rushes up and the car smashes into it with a deafening,
                shattering roar, plunging beneath the surface to a dark and
                soundless world -- except for a tiny red light, the whir of a camera
                and Cameron's desperate cries. Tearing his seatbelt off he flings
                himself toward the rear of the car, clawing at the back seat to
                reach Nina. Incredibly, there is sunlight again as the car is
                buoyed to the surface. There, again, is the living world - the
                road, the trees. In that brief instant, through the rear window,
                Cameron has a wild, tilted glimpse of a pink pinafore -- Nina,
                standing by the rail looking down, Eli beside her. The car noses
                downward, water rising swiftly over the rear window. The last image
                on Cameron's retina is that wild, eager, little-girl excitement on
                Nina's face. Then he's alone again, entombed in the darkening water
                as the car plunges toward the bottom.
                Cameron sits, immobilized at the realization that his betrayal is
                total. Everyone, even Nina, has conspired to bring him to this --
                red light glowing, camera whirring, to capture the moment of his
                                             - 150 -
                Outrage galvanizes him to action. He reaches for the door handles,
                to rip them open -- they snap off in his hands. Now there is a
                rumbling and rending of metal as the roof begins to implode,
                crushing down toward him. Under the immense pressure, the rear
                window bursts inward, the river rushing in a wild torrent. The
                memory of Chuck's voice..."the windows." He lowers the front window
                slowly. The water now pours in faster. The level has risen to his
                chin. He gasps a final breath and the water rises over his head.
                Still the red light burns. He reaches beneath the seat for the
                oxygen cylinder and tries to pull it loose. It won't move. The
                impact of the car hitting the water has bent the seat frame. His
                groping hand finds the hose, the oxygen mask. A hope. Though every
                second is robbing his chance for life, his movements under water are
                as in slow motion. Pulling the mask to his face, he takes an eager
                breath and chokes as water fills his mouth. The rubber tube has
                broken loose from the cylinder and is floating free -- as it must
                have with Burt. Pressure of the onrushing water has stopped as the
                water reaches the roof. For a moment there is a strange stillness
                which Cameron, his lungs bursting, swims through, out the window and
                toward the surface.
          199   ANGLE ON CAMERON
                Moving upward through river slime, in a world that grows lighter, in
                a desperate race to reach air.
                Daylight! Gasping, half unconscious, barely able to move his arms
                to stay afloat. Adrift in the current, he touches land, clawing at
                the rocks and pulling himself onto the shore. His muscles, still
                moving by motor reflex, driven by survival instinct, take him
                crawling from the river bank through the tall grass -- still the
                fugitive, the "man on the run." Then, he lifts his head and stops
                at what he sees before him:
          200   POV
                Fanned out across the field is a row of men, guns held ready.
                Policemen from the truck in their German uniforms moving forward
                slowly -- carefully searching the terrain in an arch which, as it
                closes, must irrevocably reach Cameron.
          201   ANOTHER ANGLE
                It's over. Without strength or will, he lies waiting for them as
                though his eyes were made of glass. They see him now, but their
                pace doesn't change. As they take the last few steps toward him, he
                sees their shoulders, waists, knees and then only a circle of feet
                around him.
                Their hands roughly grab him, pulling him to his feet, shoving him
                brutally about. Angry cop faced growling: "Kill the son-of-a-
                                               - 151 -
                bitch," "Shoot 'im," "Cut it," "Hang 'im," and then loudly, "Cut
                it!" He feels a blow on the back, then another. They seem too
                gentle. Why is that cop smiling? Some of them are walking away.
                Where are the handcuffs? Why is he shaking my hand instead? Then
                the jumble of voices is becoming clearer..."No matter what they pay
                you, make 'em give you a raise!"..."Fantastic, my wife thinks being
                a cop is dangerous -- you guys are terrific!" It finally sinks in,
                the insane, absurd, devastating, humiliating realization that it was
                all just another scene in a movie that came off as planned.
                He is alive and free. Is that gurgle we hear in Cameron's throat
                the water that he swallowed or an unseemly giggle? Then it chokes
                into laughter.
          202   POV
                Here comes Chuck, running across the field with his silly stunt bag
                filled with elastic bandages. How funny. Here's the helicopter
                hovering with Gabe descending the rope ladder bearing film for Eli,
                who runs to meet him. How hilarious. There's the pink
                pinafore...Nina holding the skirt up to her waist as she wades
                through the tall grass towards him. How sweetly absurd.
                                   All right, come on...let's get the
                                   stuff in the trucks, we're losing
          203   ANGLE ON CAMERON
                Chuck has reached Cameron, throwing a blanket over him.   He pulls a
                pint from his back pocket.
                                   Take a belt. Don't be stingy.
                As Cameron tilts his head back, the bottle to his mouth, he sees
                skin divers setting down their rescue equipment and stripping out of
                their dripping wet-suits.
                                   Those guys down there the whole
                Chuck, who is rubbing Cameron violently through the blanket to
                restore his circulation, replies with the highest compliment he can
                                   I can't hear ya...they're clangin'
                                   too loud.
                                             - 152 -
          204   ANOTHER ANGLE
                Nina has reached an impasse twenty yards away in her journey of love
                toward Cameron -- a muddy section of swamp.
                                   (shouts across the
                                    distance to Cameron)
                                I can't come any further. What
                                should I do? I'll get the dress all
                                muddy and I need it for the next
                                   (grinning with good
                                Tunafish salad...I know.
                                They found me five minutes after you
                                left. I felt ridiculous.
                                   (waves back)
                                Just as well!
                                When Eli told me you'd   changed your
                                mind and decided to do   the stunt, at
                                first I didn't believe   him, but I
                                guess you really did.    I tried to
                                find you.
                Eli is standing nearby listening to this macabre exchange between
                                           NINA (CONT'D)
                                   (to include Eli)
                                I'm sure glad you two made up! Boy,
                                Lucky, were you wonderful...I guess
                                I have to go now. See you after.
                She awkwardly turns, her dress still held high and yells back over
                her shoulder...
                                          NINA (CONT'D)
                                             - 153 -
                                I'm sorry I was so nutty last night.
                                I always get crazy at the end of a
                Nina continues picking her way toward the road.   And then...
          205   CLOSE ON NINA
                Suddenly she turns, running headlong, pell-mell across the swamp and
                through the mud holes, drenching her pink pinafore into a muddy rag,
                losing a shoe, ripping her hose -- and then wildly into the arms of
                Cameron, smearing him with love and mud! And then, just as quickly,
                she is gone, racing back across the field, hopping like a rabbit
                without her shoe, toward the road.
          206   ANOTHER ANGLE
                Cameron is brimming with pleasure.    Chuck, totally ignored, picks up
                his stunt bag.
                                Lover, I think your circulation's
                                back to normal. And please, next
                                time will ya listen for the cue --
                                the word is "action."
                He walks off, leaving Cameron draped in the blanket like an Indian.
                Eli steps up to him looking very serious, lifts his hand in the
                Indian sign of greeting and says:
                                "How!" I have always had a great
                                compassion for your people. Long
                                before it was popular, I felt a
                                repugnance for General Custer.
                Cameron stares at him, incredulous.
                                           ELI (CONT'D)
                                My God, I think he's breathing.
                                There're days I can't do anything
                                right. I hope this doesn't screw up
                                our relationship, your being alive
                                and all.
                                        - 154 -
                             (shaking his head)
                          ...You sure took a hell of a chance,
                          Eli...why didn't you just let me go
                          last night?
                          What, with Nina in the trunk? I've
                          got scenes to shoot with her...
                          ...All right. This morning then.
                          Chuck could have done the stunt.
                          I knew a guy who made an anti-war
                          film. When they previewed it in his
                          hometown, army enlistment went up
                          six hundred percent. I'm making
                          this film trying to convince the
                          whole world that maybe there's a
                          better way to get home for
                          Thanksgiving...and I can't even
                          convince one dumb kid with a
                          tattoo...I couldn't have you run
                          around paranoid the rest of your
                          life thinking I was trying to kill
          Sam has run up, out of breath, followed by crew members.
                          Hey Sam, the kid just licked your
                          screenplay. He named the disease.
                          Yeah, what?
                          ...a social disease, very common.
                                        - 155 -
                          You're close. It's spread the same
                 screwing your fellow man.
                          I hope you find an easier cure.
                          That was the hardest thousand bucks
                          I ever made.
          A horn honks. It is Jake who, in his enthusiasm, has driven the
          police car bumping over the marshes to Eli and Cameron.
                          You guys want a ride back?
                             (moving toward the
                          No, we're goin' in the chopper.
                             (considers it)
                          Thanks, Eli, but that looks too
                          dangerous. I think I'll ride with
                          Jake. Good luck with the picture.
          He moves toward police car.
                             (yelling to Cameron)
                          Don't miss that plane, Burt!
                             (leaning across Cameron
                              to yell at Eli)
                          He better not! Any member of your
                          company found within city limits
                          after five o'clock tonight, gets
                          shot on sight!
          Eli stops, suddenly registering what Cameron had said.
                          ...What thousand bucks?   That stunt
                          paid six-fifty.
                          Chuck told me a thousand...
                                        - 156 -
                             (getting upset)
                          A thousand!
                          Okay, seven-fifty.      Split the
                          Bullshit!   You're trying to screw
                          Christ! You're doing it again!
                             (striding toward the
                              chopper, shouting)
                          Sam! This paranoid little bastard
                          still doesn't understand your damn
          Eli is climbing into the helicopter.
                          That's your big problem, Eli! You
                          use people! I want my money, a
                          thousand bucks!
                             (to Cameron)
                             (to Sam)
                          Rewrite the battle scene and let the
                          tank run him over! The stunt pays
          The helicopter takes off, zooms under the bridge, up into a
          hammerhead and soars back, while Cameron continues to scream at it.
                          Come back here. I'm tired of being
                          your goddamn clown! Pay me my
                          thousand bucks!
          Eli's voice on the helicopter's P.A. speaker echoes through the
          canyon, as the chopper cavorts overhead and skims away.
                       - 157 -
                     ELI'S VOICE (ON P.A.)
          How tall was King Kong...
                     - FADE OUT -

Stuntman, The

Writers :   Lawrence B. Marcus  Richard Rush  Paul Brodeur
Genres :   Action  Adventure  Comedy  Drama  Romance  Thriller

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