FADE IN:
INT. AN APARTMENT BEDROOM -- DAWN
SILENCE pervades dim morning light.
TIGHT SHOT on a messy dresser top reveals two magazines with
titles visible: "Architecture Today" and "Chicago Skyline."
OVER TO a framed photo: husband, wife, three kids. Kids look
about 12, 10, and 8. All seem happy. The glass is cracked by
a vertical line that divides the father from the others.
PULL BACK to reveal a mattress on the floor (no bedframe).
On the mattress, a SLEEPING BODY is outlined under covers.
All around are clumps and piles of dirty clothes. Among the
clumps are a minimal array of furniture and bedroom gadgets.
Suddenly, an incredibly LOUD alarm clock shatters the calm
with rapid CLANGS that resemble a submarine's call to action.
The bedcovers magically levitate into a humped mound. Under
them is JACK MATHEWS, who emits a deep GROAN that is barely
discernable above the incessant CLANGING of the alarm clock.
The mound tumbles off the mattress onto the floor, sprouting
arms and legs in the process. But the covers stay over Jack's
head and body as his legs stand up and his arms feel around.
Jack moves to the dresser, hands blindly fumbling, trying to
find drawer handles. BANGING and SHOUTING on the floor and
ceiling begins to compete with the relentless alarm.
VOICE ABOVE (O.S.)
This is it, shithead! You are dead!
VOICE BELOW (O.S.)
Anything you got living is dead!
Jack finally secures the handles of the middle dresser drawer
and pulls it open. The clanging alarm becomes even LOUDER.
With his head and torso still draped by the covers, Jack's
ghostlike form grapples with the large clock until he can
shut it off, which allows the POUNDING and SHOUTING above
and below to come through with sharp clarity and ferocity.
VOICE ABOVE (O.S.)
You hear me, asshole? Dead!
-----------------------------------------------------------------------------------------------------
2.
VOICE BELOW (O.S.)
A fucking doornail, pal! You and
everything you own! Dead and gone!
Still unsteady, Jack reaches and pulls the covers down off
his head. He's the guy in the family photo: average-looking,
lean, early 30's, eyes squinting against the light of day.
INT. A VERY DIFFERENT APARTMENT -- MORNING
GAYLE STRICKLAND sleeps in a chic four-posted bed in a well-
arranged bedroom that is elegantly understated. Her ALARM is
a radio that comes on playing a soft, gentle WALTZ.
In her late 20's, Gayle is attractive in a prim, proper way.
She has dark, straight, nape-length hair cut in a no-nonsense,
Prince Valiant style. She awakens with no further prompting.
She slides out of bed dressed in a long-sleeved, ankle-length
nightgown. She goes over to the bedroom window and opens its
curtains to greet the day. The New York skyline looms beyond.
She lifts her arms wide to greet the new day, stretches, and
curls her arms as if holding a dance partner. She then "air"
waltzes across her bedroom to her bathroom, HUMMING with the
music as she twirls and spins with her make-believe partner.
INT. JACK'S KITCHEN -- MORNING
Jack enters looking like his bedroom on legs. His mismatched
jacket and slacks are badly rumpled, and his white shirt has
an egg-sized coffee stain dead-center in front.
He's wiping the stain with a damp washcloth, which is clearly
wetting the shirt. He speaks with a heavy Latin accent.
JACK
Hieee, caramba! Chu'r lukeing like
a.... Chu'r lukeing like a....
He gives up and speaks disconsolantly in his normal voice.
JACK (CONT'D)
Like a bullseye for a water-balloon.
Finishing with the stain, he turns his attention to the trio
of ties stuffed in his jacket's side pockets. All are crimped
and gnarled. He chooses the red one and loops it around his
neck while shifting his characterization to a British snob.
-----------------------------------------------------------------------------------------------------
3.
JACK (CONT'D)
My good fellow, isn't that tie a bit
too...ohh, I don't know...flamboyant?
He then becomes the heavily accented Latin again.
JACK (CONT'D)
Heeey, maaan, I'm lukeing to score a
'hot' tamale...chu know what I mean?
A cellphone on his waist RINGS and he answers it, changing
again to an extremely supercilious Frenchman.
JACK (CONT'D)
You have reached the huge, massively
fortified estate of Monsieur Jacques
Mathews. Please state your name.
INT. HOME OF HARLEY COBB -- EARLY MORNING
Like Jack, Harley is in his 30's, but where Jack is trim and
passably attractive, Harley is overweight and unattractive.
He is dressed in a bathrobe and looks just out of a shower.
He stands in a hallway in his home, speaking into a regular
phone on a small telephone table. He keeps a wary eye on a
room down the hall as he struggles to keep the tone of his
raspy voice below the level of his emotional agitation.
HARLEY
For God's sake, Jack! Don't you ever
give that comedy crap a rest? Life
is not funny! It's serious business!
INTERCUT WITH JACK IN HIS KITCHEN
Jack begins scrounging for something to eat in a refrigerator
that looks as disorganized as everything else around him. He
speaks in his normal voice as he chats with Harley.
JACK
I'm as serious about comedy as I can
be, Harley. You know that.
HARLEY
Yes, but it's all you're ever serious
about! That's why I have to nursemaid
you like a damn toddler!
JACK
Nursemaid? Toddler? I resent that!
-----------------------------------------------------------------------------------------------------
4.
HARLEY
You can't get up on time...you can't
make yourself presentable for work
...your whole life is falling apart!
And what's your biggest concern?
Making jokes! You're insane!
Jack sniffs at various leftovers, making faces that escalate
from concern to disgust as he converses with Harley.
JACK
What can I tell you, Harley? Comedy
is my passion. I love it.
HARLEY
Then why not quit your job and try
to make a living at it? You'll never
have a better opportunity.
JACK
I'm not good enough to be a pro.
It's just a hobby. Besides, when
Alice comes to her senses--
HARLEY
(cuts in)
She came to her senses when she left
you! Now you should come to yours
and accept that she's not coming
back. She's gone. It's over.
JACK
It's only been six months. A lot can
happen in six more months.
HARLEY
Six more months! Jack, get a grip!
I'm ready to kill you now! Trust me,
you don't have six more months of me
taking Alice's place in your life!
JACK
No one asked you to take her place!
HARLEY
Someone has to! You're helpless by
yourself! You can't do anything!
JACK
Look, I admit I'm having trouble
adjusting to being on my own. But
like I said...when Alice comes to
her senses, everything will be okay.
-----------------------------------------------------------------------------------------------------
5.
Trembling with frustration, Harley strangles the phone with
both hands, then forces himself to calm down...slightly.
HARLEY
Okay, forget Alice. What about my
idea of hiding the loud alarm?
JACK
It did force me to get up on time,
but I can't use it any more.
HARLEY
(winces)
The neighbors again?
JACK
They're threatening to kill me, just
like you do. I'm gonna have to buy
them a case of beer, or something.
Jack finally takes a bite off a mold-specked piece of cheese.
HARLEY
So you'll be on time today, right?
Suddenly a FEMALE VOICE comes BOOMING from the room down the
hall, where Harley has steadily kept glancing as he talked.
FEMALE VOICE (O.S.)
Tell him Daddy swore to me that the
next time he's late, he's history!
Harley puts his hand over the receiver and responds LOUDLY.
HARLEY
Yes, pumpkin!
Then he resumes with Jack in his raspy voice of before.
HARLEY (CONT'D)
Godzilla says the old man plans to
sack you the next time you blow it.
JACK
I'll be early today--can't miss.
HARLEY
(softer, sincere)
Geeze, I hope so. You're the only
friend I have in that place. I don't
think I could stand to lose you.
-----------------------------------------------------------------------------------------------------
6.
INT. GAYLE STRICKLAND'S APARTMENT -- MORNING
Still humming, but to a different CLASSICAL PIECE playing in
B.G., Gayle moves across her living room to her front door.
The apartment is high-class, high-gloss, and immaculate.
Her lank hair is combed and tucked behind her ears, and she
is dressed in a light gray woman's business suit.
She opens the door, which leads out into a hallway. She bends
down to pick up a copy of The Wall Street Journal.
INT. GAYLE'S KITCHEN -- MORNING
She enters to find coffee brewing and a bagel warming in a
microwave. She gathers them at the counter, then sets them
beside the Journal in what is clearly a practiced pattern.
As she settles at the counter to eat, it is obvious that
everything she does is part of a well-oiled routine.
EXT. STREET OUTSIDE JACK'S APT. BUILDING -- MORNING
It is a typical westside Chicago neighborhood. Briefcase in
hand, Jack exits the front door.
JACK'S POV
On the street beyond, two rough-looking men wearing hardhats
are slashing the tires of an unwashed, bruised-and-battered,
late-model sedan. They are CARL and BRUNO, Jack's upstairs
and downstairs neighbors.
EXT. STREET OUTSIDE APARTMENT -- MORNING
Jack BOLTS toward Carl and Bruno, SHOUTING as he runs.
JACK
Hey, what the hell are you doing?
Are you crazy? That's my car!
Carl and Bruno look at each other and grin, then Carl rises,
sticks a finger in his ear, and wiggles it, as if trying to
extract something from inside. He speaks LOUDLY.
-----------------------------------------------------------------------------------------------------
7.
CARL
Gee, Bruno, did you hear somethin'?
I almost thought I heard somethin'!
Bruno also rises, wiggling a finger in his own ear, SHOUTING.
BRUNO
What say? Can't hear a damn thing!
Got a terrible ringin' in my ears!
CARL
Yeah, me, too! Like an alarm, huh?
As Jack reaches them they LAUGH, brushing past him on their
way to a well-kept pickup parked at the curb several yards
down the street. As they go past, Carl growls at him.
CARL (CONT'D)
Anything happens to my truck, your
legs will make them tires look good!
BRUNO
And when he's done with your legs,
I'll spike your arms. Capische?
Jack nods dejectedly, then is struck by inspiration.
JACK
Are you guys heading downtown?
Carl and Bruno have just reached the doors of the truck, and
both are frozen by the effrontery of Jack's implication.
They look at each other in momentary disbelief, then they
both burst out in LOUD GUFFAWS as his meaning sinks in.
CARL
Now that's funny!
BRUNO
Yeah, hell! Who said he ain't funny?
They're into the truck by then and Carl cranks it up as Jack
goes running toward them.
JACK
I'm serious! I'll ride in back! I
have to get to work on time!
The truck pulls away with both men in the cab still LAUGHING
uproariously, leaving Jack standing forlornly at the curb.
-----------------------------------------------------------------------------------------------------
8.
EXT. WALL STREET -- MORNING
Now carrying a briefcase, and with the Wall Street Journal
tucked under an arm, Gayle Strickland enters a tall building
where she works for the brokerage firm of Lampere and Lampere.
EXT. A NEIGHBORHOOD STREET CURB IN CHICAGO -- MORNING
Jack walks along it, speaking into his cellphone.
JACK
Harley...sorry, man...you're gonna
have to cover for me again.
INT. HARLEY COBB'S BMW COUPE -- MORNING
Harley is driving to work, speaking on his own cellphone.
HARLEY
What? What happened? You said--
JACK (O.S.)
I'll explain when I get there.
Jack hangs up, leaving Harley holding the small phone, which
he then throttles with both hands as if it were Jack's neck.
INT. OFFICES OF LAMPERE AND LAMPERE -- MORNING
Gayle is early, as usual. In the open space of the outer
office there are desks for the dozen secretaries who labor
there, but only one is present so early. She is a 20-ish
Chicana named LUCIA, who greets Gayle cheerfully.
LUCIA
Good morning, Miss Strickland!
GAYLE
Good morning, Lucia. What brings you
here so early? I'm usually the only
one in at this hour.
LUCIA
Mr. Henson is doing a rollover on
the Aruba account. You know it?
GAYLE
A savings and loan, isn't it?
-----------------------------------------------------------------------------------------------------
9.
LUCIA
Yeah, and it's a bitch! I couldn't
finish last night, so I'm in early.
(pause)
You come in this early every day?
Gayle's nod is a mixture of determination and chagrin.
LUCIA (CONT'D)
Why? I mean, you're on your way up
here. You're happening...big time!
GAYLE
I'm still proving myself.
LUCIA
What? After how long?
GAYLE
Five years.
LUCIA
Five years isn't enough?
GAYLE
Not for a woman.
Lucia gives that a brief moment of consideration, then shakes
it off with a shrug.
LUCIA
Listen, I've, uh, gotta get busy.
GAYLE
Of course. I'll talk to you later.
With that Gayle turns away and goes into her office.
EXT. LOS ANGELES AIRPORT -- ESTABLISHING SHOT -- DAWN
ON the restaurant needle, PAN TO the upper departure ramp.
EXT. THE DEPARTURE RAMP -- DAWN
A MAN in a dark gray, three-piece business suit stands beside
a walled-in construction area, 50 feet from an entrance door.
He is 40-ish, tall and well-built, with a sinister cast caused
by black wraparound SHADES worn in the dim light. Vehicles
of various kinds deposit departing passengers at the entrance.
-----------------------------------------------------------------------------------------------------
10.
Giving off an air of menace, SHADES watches each group. On a
shuttle bus comes a FLIGHTCREW, one of whom, a late-20's man
named CLAYTON, notices Shades and speaks to his companions.
CLAYTON
Hey, folks! I need a smoke. Go on
and check in...I'll catch up.
He lights up as the others continue through the door, ignoring
Shades lurking well off to their left. When they are inside,
Clayton walks over to Shades, puffing nervously.
CLAYTON (CONT'D)
I'm Clayton. Where is it?
Wordlessly, Shades leads him through a door cut into the
plywood wall surrounding the construction area.
EXT./INT. BEHIND A WALL BUT WITH NO ROOF -- DAWN
Inside the construction site they can't be seen. Shades
uncovers a black FRENCH HORN CASE hidden under a box.
Clayton lifts it up to study it, frowning.
CLAYTON
This won't work. I'm not set up for
weird shit like this.
SHADES
It's been moved many times. Put it
in the garbage hold. Fits perfect.
CLAYTON
Why such a weird shape?
SHADES
None of your business.
Clayton heeds the menace in his voice by shrugging.
CLAYTON
Okay. You got the money?
Shades reaches into a breast pocket of his dark three-piece
suit to remove a bill-sized envelope. He hands it to Clayton.
Clayton opens it and thumbs through a sheaf of $100 bills.
Satisfied, he takes the horn case and starts moving away.
CLAYTON (CONT'D)
See you on the flight.
-----------------------------------------------------------------------------------------------------
11.
EXT. SUBURBAN CHICAGO STREET CORNER -- MORNING
Jack Mathews stands at an intersection with a light, thumbing
at traffic. The light turns red and traffic stops.
The car nearest him is a full-blown pimpmobile. The windows
are down and rap music BOOMS from inside it. Two decked-out
black PIMPS are in front, ending another night on the job.
Seeing he has verbal access to the PASSENGER, Jack slips
into a black street-character mode as his voice, facial
expression, and posture all change. He becomes black.
JACK
Hey, bro! Where it is, where it was,
whut it be, you dig? I know dis kaa.
The passenger realizes he's being addressed and reaches out
to turn the music down. Then he turns back to Jack.
PASSENGER
Whutchu say, man?
JACK
I say, 'I know dis kaa.' I been in
dis kaa. Hell, man, dis is my kaa!
PASSENGER
Say whut? Yo kaa? You crazy!
JACK
No shit, blood, thas my kaa! You two
homeboys drivin' my ride! And I am
serious pissed about it! Pissed!
The passenger realizes he's being put on and, grinning, turns
to face the DRIVER, who has already figured it out.
PASSENGER
Man say he be pissed....
(back to Jack)
Whutchu gon do 'bout bein' pissed?
Just as quickly as Jack became black, he becomes a big-gut,
sour-faced, redneck SHERIFF as the light turns green.
JACK
You boys bettah jus pull yore cawr
on over yonder, up agins 'at curb.
He motions them toward the open curb beyond the intersection.
-----------------------------------------------------------------------------------------------------
12.
JACK (CONT'D)
I'll come tell yawl the shitpile o'
trouble ya done got yo'selves into.
The passenger almost giggles as he turns to the driver.
PASSENGER
Man, dis cat be trippin'! Pull over.
The driver is grinning and does as his friend requests.
EXT. DOWNTOWN CHICAGO SKYSCRAPER -- MORNING
The pimpmobile pulls up to the curb, Jack in the back seat.
INT. THE PIMPMOBILE -- MORNING
Jack is finishing a story or joke in his normal voice.
JACK
So the guy yells 'Surfing brainwaves!'
Both black men burst out LAUGHING while speaking together.
BOTH MEN
Naw, man! Nu-uh! No way! Can't do
dat! Dat's low!
Jack gets out of the car as the two men finish laughing.
EXT. CURB IN FRONT OF SKYSCRAPER - MORNING
Jack straightens his clothes, then leans in to exchange deft
black handshakes with each man, both of whom grin at him.
JACK
Thanks a million, guys, no kidding.
PASSENGER
No kiddin'? Bro, all you do is kid!
DRIVER
You a seriously fucked-up dude!
They drive away still LAUGHING as Jack turns and heads for
the skyscraper's entrance. He checks his watch and grimaces.
-----------------------------------------------------------------------------------------------------
13.
INT. BUILDING LOBBY -- MORNING
Jack hurries across the lobby heading for the elevators when
he is spotted and joined in stride by GLENN GRAHAM, a small
man with a mincing walk and an offensively officious manner.
Glenn carries an armload of blueprints Jack doesn't offer to
help him with. In fact, Jack does all he can to ignore him.
GLENN
What's this, Jack, some kind of
record? Only forty minutes late?
Jack fumes but says nothing as the elevator doors open and
he piles in along with Glenn and TWO OTHER PASSENGERS.
GLENN (CONT'D)
For crying out loud, Jack, you can't
keep being late like this!
JACK
Why, Glenn? Why the hell not? Aren't
records meant to be broken?
GLENN
Look, you used to be a good architect
...came in on time...looked like you
were supposed to. How could a divorce
knock you this far off stride?
Jack turns on Glenn and starts RANTING (as himself) as the
elevator rises and the two other passengers edge into corners.
JACK
You want to know how? Okay, I'll
tell you! I had a happy childhood!
Got it? Happy! Mom was the greatest!
She got me up on time, fixed my meals,
washed my clothes, gave me money....
She took care of things for me!
Flash forward--senior in high school.
My girlfriend's knocked up. Bad luck
but that's okay, because I love her,
she loves me, we both want the baby.
We get married and I struggle through
school to become an architect because
her father is one, he makes a good
living, and I don't know what the
hell else to do. I was just a kid!
-----------------------------------------------------------------------------------------------------
14.
JACK (CONT'D)
Now, during all that, what do you
suppose changed for me?...Nothing!
Alice became my Mom. She got me up
on time, cooked my meals, took care
of my clothes, managed my money....
And we were supposed to live like
that happily ever after. But that's
not what happened!
Jack's tirade leaves Glenn wide-eyed and gulping, while the
two other passengers cringe in terror as the elevator stops.
Jack storms out and Glenn must step out behind him. But he
turns to offer an explanation to the two left in the elevator.
GLENN
His, uh...his wife left him and he's
having trouble adjusting. He's not a
bad guy...just a little high-strung.
The doors close and the two strangers disappear behind them.
INT. LAX AIRPORT STORAGE AREA -- EARLY MORNING
Clayton carries the misshapen French horn case into a storage
area where spare machinery is kept. He goes to a baggage X-
ray machine and turns it on, then puts the case inside it.
The SCREEN reveals a tight but well-ordered cluster of seven
shapes: a handgun, a rifle barrel, a rifle stock, two scopes,
and two silencers. Clayton breaks into a smirking grin.
CLAYTON
Gotcha!
INT. JACK'S OFFICE -- MORNING
Jack is just settling in at his desk as Harley Cobb comes
bursting into the room, outraged, thumping his watch.
HARLEY
You said you couldn't miss being on
time! You said it was a lock!
JACK
It was! But my neighbors really
objected to your wake-up technique.
-----------------------------------------------------------------------------------------------------
15.
An intercom BUZZER interrupts. Both men's eyes widen and
meet, then Jack grimaces and pushes the button.
JACK (CONT'D)
Yes, sir?
The outraged voice of HAROLD CAVANAUGH booms into the room.
CAVANAUGH (O.S.)
You're late again! What's your excuse
this time? And no funny stuff!
Harley makes desperate motions for Jack not to say he's there.
JACK
I was just telling Harley that two
of my neighbors took exception to--
CAVANAUGH (O.S.)
Stow it! Get in here and bring my
worthless son-in-law with you!
JACK AND HARLEY
Right away, sir!
When the intercom is silent, Jack frowns at distraught Harley.
JACK
Isn't this pathetic? Here we are,
grown men, in our thirties, acting
like we've just been caught doing
something wrong by our fathers.
HARLEY
Your Dad was as bad as Cavanaugh?
JACK
A figure of speech....
INT. CAVANAUGH AND ASSOCIATES HALLWAY -- MORNING
Jack and Harley move along at a rapid clip toward Cavanaugh's
office. Harley speaks in his raspy, "quiet" tone of voice.
HARLEY
You hitchhiked with two pimps! For
God's sake, Jack! Why not a taxi?
As they reach Cavanaugh's door, Jack replies--equally muted.
JACK
You know how broke I am. All I can
pay now is attention--
-----------------------------------------------------------------------------------------------------
16.
The door swings open and 60-year-old HAROLD CAVANAUGH stands
framed in it. He is an immaculately attired man who, though
bald and paunchy, still manages to bristle with authority.
CAVANAUGH
You can't even do that any more.
You're a disgrace to our profession,
not to mention this firm.
Jack notices their ties are nearly identical shades of red.
JACK
Nice tie, sir.
Cavanaugh notes Jack's neckwear, sees how poorly it and Jack's
suit compares with his own, and he swells up like a blowfish.
CAVANAUGH
Get in here!
INT. LAX AIRPORT MAINTENANCE AREA -- EARLY MORNING
ARNIE ROBERTS (late 20's) wears the white jumpsuit of airline
food handlers. He's pushing a food cart and looking anxious.
Clayton steps from a shadow up ahead and Arnie relaxes. Then
he sees the French horn case and becomes agitated.
ARNIE
Aww, man! What kinda stash is that?
CLAYTON
Look, I know it's an odd shape, but
the customer says it'll fit in the
garbage hold. What do you think?
ARNIE
Aww, man! I don't handle garbage.
Clayton holds out three of the $100 bills he received earlier.
Then he lifts two others and hands them over, one by one.
CLAYTON
Two more Franklins to make an
exception...find a way...okay?
Arnie hesitates, then takes the case and all five $100 bills.
-----------------------------------------------------------------------------------------------------
17.
INT. CAVANAUGH'S OFFICE -- MORNING
Cavanaugh stalks around the big window behind his desk as
Jack and Harley sit pinned to chairs in front of it.
Jack is warily concerned, while Harley looks ready for an
executioner's hood.
CAVANAUGH
No more dusting off the plate, Jack
...this is it for you. It's fourth
down, ninety-nine to go.
JACK
Have I ever told you how much I enjoy
your sport metaphors, sir?
Cavanaugh starts to erupt but catches himself. He reconsiders,
then tries a more reasonable approach. He moves over to ease
a leg up on the side of his desk, putting him close to Jack.
CAVANAUGH
I know what you've gone through the
past six months. I went through it...
it's pure hell. But enough is enough.
You have to get back on track.
JACK
I've been trying to, sir...really...
but.... Well, when you're as unused
to taking care of yourself as I am...
geeze...it really is a nightmare.
Cavanaugh is moved and puts a hand on Jack's shoulder.
CAVANAUGH
Listen, Jack. Before Alice left, you
gave me eight good years. To be fair,
I owe you something for that.
Harley and Jack exchange the looks of drowning men being
thrown a lifeline out of nowhere.
JACK
What do you mean, sir?
CAVANAUGH
I have a job lined up...a project
proposal to a group of Mormons in
New York. It's something you used
to be able to handle in your sleep.
JACK
That's Doug Carson's, isn't it?
-----------------------------------------------------------------------------------------------------
18.
CAVANAUGH
(nods)
He called in sick this morning...flu.
Rather than cancel the presentation,
I'll let you go in his place...if
you think you're up to it.
Jack casts a questioning glance at Harley, who is also lost.
Jack forces a chipper smile and tone.
JACK
Sure...sounds easy enough.
CAVANAUGH
It's our design for a new cathedral
the Mormons are building in Manhattan.
Someone has to fly there to present
it to a group of church elders.
Jack and Harley are now both looking relieved.
JACK
The usual drill?
CAVANAUGH
Yes, but with Carson's drawings and
slides. You'll have to go over them
on the flight to familiarize yourself.
JACK
More than enough time. I can do it.
Cavanaugh's tone hardens into concrete.
CAVANAUGH
I've done all I can for you, Jack.
Given you many chances to straighten
up and fly right. This is your very
last opportunity, I swear to God.
He leans over his desk and hits the intercom on it.
CAVANAUGH (CONT'D)
Miss Bell, put Doug Carson's travel
arrangements in Jack Mathews' name.
He lets up on the intercom button to gaze hard at Jack.
CAVANAUGH (CONT'D)
Go to New York...convince those old
Mormon goats that you know exactly
what you're talking about...convince
them we're the right company for the
job...or don't come back. Understand?
-----------------------------------------------------------------------------------------------------
19.
JACK
Perfectly, sir.
CAVANAUGH
I hope you do. Now get yourself
something decent to wear. Mormons
are serious, conservative people.
You have to look and act like them
or you'll have no chance at all.
Harley takes this opportunity to speak for the first time.
HARLEY
If I can have some time off, I'll
take him to a store, buy him a new
suit, and drive him to the airport.
Cavanaugh glares at Harley with even more hostility.
CAVANAUGH
Don't screw up. I can't fire you
until my daughter gets smart and
divorces you...but I can make your
life make his seem like paradise!
As Cavanaugh rants, Jack and Harley hustle out of the office.
INT. A 767 WIDEBODY AIRLINER -- MORNING
The tall, menacing man in the wraparound shades steps into
the plane's entrance. He's wearing the same expensive three-
piece dark gray suit, but now he carries a well-worn leather
travel bag. He looks very much like a typical businessman.
He's met at the door by one of the airliner's HOSTESSES, who
checks his boarding pass and welcomes him into the plane.
HOSTESS
You're in the last row in coach,
sir, but we won't be full. I can
give you a better seat if you like.
SHADES
That's the one I asked for....
(pats his stomach)
Have to be near the restroom.
STEWARDESS
Ohhh.... Then have a nice flight.
Shades moves inside the plane and along the aisle. He sees
Clayton, now fulfilling his role as a flight ATTENDANT.
-----------------------------------------------------------------------------------------------------
20.
Clayton stands in the first-class galley area, smirking. He
nods subtly, indicating everything is under control.
Without breaking stride, Shades barely returns the nod as he
moves along into the plane's rear section.
INT. A CLOTHING STORE -- MORNING
Jack stands in front of a 3-way mirror wearing a new, dark,
conservative suit. The shirt and tie are also different from
the ones he wore earlier. Harley is at his side, grim-faced.
JACK
I'll pay you back, Harley, I swear.
Not just this, everything I owe you.
HARLEY
Not if you don't nail this meeting.
JACK
(blustering confidence)
How can I not nail it? Mormon elders?
Are you kidding? I'll have those old--
HARLEY
(cuts in)
Jack, the old man meant what he said.
If you screw this up, you're history.
JACK
(his concern is obvious)
I know, Harley...believe me, I know.
INT. LAMPERE AND LAMPERE STOCK BROKERAGE FIRM -- MORNING
Gayle Strickland sits in an office every bit the equal of
her apartment in terms of taste and understated elegance.
She works on a portfolio index, crunching numbers through a
computer terminal while making notations on a printout stack.
There comes a soft KNOCKING on her door. She reluctantly
breaks off to look up.
GAYLE
Come in!
ROGER DONALDSON steps in. He is a broker with her firm, about
her age and rather good-looking. He has a cocksure attitude.
-----------------------------------------------------------------------------------------------------
21.
ROGER
Hi, Gayle. Listen, a few of us are
going to Primo's for lunch. I thought
maybe you might want to join us.
Gayle leans back as if she can't quite absorb his message.
GAYLE
Tell me, Roger...out of all the
possible times I could have joined
you in the past, what makes you think
this would be the time I'd do it?
Roger's cocksure attitude wilts ever so slightly.
ROGER
It doesn't hurt to ask, does it?
GAYLE
If you had never asked before and
didn't know that I absolutely refuse
to mix business with pleasure, then
no, it wouldn't hurt. But since you
do know my rule, why bother me?
Roger throws caution and cool to the wind and snaps at her.
ROGER
Dammit, Gayle, what is it with you?
Why do you have to be superwoman all
the time, every minute of every day?
Don't you ever want to just let your
hair down and relax for a change? Do
something silly or stupid or romantic
or adventurous?
Taken slightly aback, she actually considers his questions.
GAYLE
Silly or stupid? No, definitely not.
Romantic or adventurous? Yes...I'd
enjoy an occasional dose of either
of those. But that's not the kind of
life I lead, is it?
ROGER
(still fuming)
It's your own damn fault!
That causes her to rise to her feet behind her desk.
-----------------------------------------------------------------------------------------------------
22.
GAYLE
You're right, it is. Now, if you're
through pointing out the obvious....
She indicates her door, which he turns and storms through.
After he's gone, she shakes her head disconsolantly.
GAYLE (CONT'D)
Men!
INT. THE 767 AIRLINER OF BEFORE (NOW IN CHICAGO) -- NOON
Jack Mathews enters the front cabin, just as Shades did
earlier in L.A. He carries his briefcase, along with a much
larger, very thin portfolio holder.
The same hostess who checked Shades in also checks him in.
HOSTESS
Welcome aboard, sir. You'll be in
the third row in first class.
Jack returns her smile as Clayton's VOICE comes over the
plane's intercom. Jack finds and settles into his aisle seat
as Clayton announces from the first-class galley area.
CLAYTON (MOSTLY O.S.)
Ladies and gentlemen, our Chicago
passengers have finished boarding
and we're ready to resume Flight 299
to New York. For those just boarding,
I'd like to acquaint you with our....
ANGLE ON SHADES IN REAR OF PLANE
He sits expressionless behind those sinister dark glasses.
Is he taking everything in...or just sleeping?
EXT. NEW YORK'S CENTRAL PARK -- NOON
Gayle Strickland sits on a park bench finishing a carton of
yogurt. She doesn't just throw it away, though. She replaces
the lid on it, then wipes the plastic spoon before getting
up and making sure all her trash is secured in a wastecan.
She then returns to the bench and removes a zip-lock bag
from the brown paper bag she brought her lunch in. A few
ounces of breadcrumbs are in the baggie. Pigeons quickly
gather as she starts spreading the crumbs.
-----------------------------------------------------------------------------------------------------
23.
In a minute or so Gayle is approached by a YOUNG GIRL of
about six, who is part of a group of SCHOOLKIDS enjoying a
lunch break in the park behind her back. The girl stands for
a few seconds as the pigeons eat, then she decides to speak.
GIRL
Hi. My name's Rosemary.
GAYLE
(charmed)
Hi, Rosemary. I'm Gayle.
ROSEMARY
You feed the pigeons every day. I
saw you do it before.
GAYLE
(nods)
Every day the weather is nice.
ROSEMARY
Why?
Gayle is briefly stymied by the simplicity of that question.
GAYLE
They always eat what I bring them,
so I assume they're always hungry.
Rosemary steps forward confidently while shaking her head.
ROSEMARY
That's not what I meant. You're too
young to sit on a bench and feed
pigeons. You're as young as my Mom.
You have to be old like my Gram and
Gramps to sit here and feed pigeons.
She leans over to whisper conspiratorily.
ROSEMARY (CONT'D)
I think it's some kinda rule.
Gayle takes her advice as seriously as she can.
GAYLE
Thanks for letting me know.
A kickball comes rolling their way and Rosemary is off like
a shot to retrieve it. She calls out as she goes.
ROSEMARY
'bye!
-----------------------------------------------------------------------------------------------------
24.
Gayle waves behind a big smile, which gives way to a deep
frown as she dumps out her bag of crumbs and moves away.
INT. THE 767 AIRLINER -- AFTERNOON
Jack is in his aisle seat, studying his company's building
proposal as it relates to the batch of artist renderings
contained in the poster-sized portfolio case.
He nods and MUTTERS approval at one or two of the salient
features. It is clear he is digging into it. Then the cabin
CHIME RINGS and Clayton's VOICE is back on the intercom.
CLAYTON
Ladies and Gentlemen, we're into our
descent into New York. Please turn
off all electronic equipment....
INT. ARRIVALS TERMINAL -- EXIT RAMP -- AFTERNOON
Jack enters and notices a thin-faced, hard-eyed MAN in his
mid-40's holding a small sign which says: "Jack Mathews."
Jack frowns at the man, then shrugs off his doubts to approach
him with a smile, shifting his briefcase and portfolio holder
to his left hand so he can extend his right hand for a shake.
JACK
Hi...I'm Jack Mathews.
Though they are roughly the same size, the hard-eyed man
seems much bigger as he ignores Jack's extended hand to stare
down at his portfolio holder, then up into his eyes with an
intimidating glare. He lowers the sign and turns on his heels.
MAN
Follow me...
Looking doubtful and ill-at-ease, Jack falls in behind the
man and walks along in silence for a few seconds, trying to
take the stony fellow's measure. Then he speaks.
JACK
My instructions were to be picked up
outside...at the curb.
The man stops and turns to gaze at Jack with genuine concern.
MAN
My instructions were to pick you up
at the arrival exit. It was clear.
-----------------------------------------------------------------------------------------------------
25.
Jack realizes he's getting off on the wrong foot, so she
does his best to put a meaningless face on the confusion.
JACK
Hey, no problem. Curb, exit...what's
the difference? I'm here and you're
here...let's just get on with what
we have to do. What do you say?
The man holds Jack's gaze again, clearly weighing everything
carefully, then he nods and resumes walking.
MAN
As you wish, Mister Mathews.
As Jack follows along behind, his expression reveals that he
is finally realizing how strict and serious Mormons can be.
INT. THE 767 AIRLINER -- AFTERNOON
At the front exit the last of the passengers departs. The
flight ATTENDANTS are straightening up, replacing pillows
and gathering magazines while closing overhead bins.
The flight CREW is putting on their caps and jackets and
gathering their personal effects.
As one of the HOSTESSES nears the rear of the tourist class
area, Clayton CALLS to her from his position in first class.
CLAYTON
That's okay, Cheryl! I'll do the
final check-out! You can quit now!
Cheryl gladly stops and moves back to the front of the plane.
Everyone is soon off it, leaving Clayton alone. He wastes no
time hustling to the rear restroom area, speaking loudly.
CLAYTON (CONT'D)
Okay, chief! Coast is clear!
A lavatory door opens and Shades steps out, his flight bag
in hand. He smiles icily as he brushes past Clayton without
a word. Clayton's own smile hardens as he glares at the big
man's back. Then he chats as they move toward the front.
CLAYTON (CONT'D)
Listen, chief...we have to do some
renegotiating. I'm gonna be needing
an extra two grand.
Shades stops walking and turns to face a grinning Clayton.
-----------------------------------------------------------------------------------------------------
26.
CLAYTON (CONT'D)
Guns cost more than drugs, chief.
Shades stiffens ever so slightly, clearly annoyed by this.
SHADES
Who says?
CLAYTON
Me. You want 'em, you pay extra.
Shades drops his bag in a seat and removes his glasses for
the first time, revealing two of the coldest eyes in creation.
SHADES
That's not good business, Mr. Clayton.
CLAYTON
Neither is passing yourself off as a
druggie when you're some kind of hit
man or terrorist or whatever.
SHADES
What if I don't have enough extra on
hand right now? What if I have to do
the job to get your two more grand?
CLAYTON
Then you'd have a serious problem. I
won't deliver 'em till you pay up.
Shades frowns as if grappling with a genuine quandary, then
suddenly he lashes out with a backhanded SLAP that sends
Clayton sprawling onto one of the center aisle's seats.
Shades pounces, grabbing the smaller man's jacket lapels to
jerk him upright in the chair. He lifts him so his feet are
in the seat and his rump is on the top edge of the backrest.
Shades lifts his left foot and jams it on top of Clayton's
feet, then with his right hand he grabs a handful of Clayton's
hair and yanks his torso back over the top of the seat.
That leaves Clayton bent backward over the top of the backrest
at an excruciating angle as he comes to his senses. Meanwhile,
Shades shoves his devilish face down in front of his victim's.
SHADES
I'll get right to the point, dickhead.
You have the serious problem here.
Eyes bulging with fear, Clayton nods vigorously.
CLAYTON
Yeah...sure...you're right...my fault!
-----------------------------------------------------------------------------------------------------
27.
SHADES
Which garbage bin is it in?
Clayton is now gasping for breath, in obvious pain.
CLAYTON
First class...right front....
Shades smiles and starts to relax his tense grip on Clayton.
He seems about to release his prey when his smile turns to a
grimace and he suddenly explodes with physical effort.
Clayton SCREAMS and struggles as Shades presses harder. Then
a LOUD SNAP is heard and Clayton suddenly stops struggling
as his torso flattens against the rear of the seatback.
Clayton dangles over the seat like a limp rag, MOANING in
shock. Shades bends down, takes his victim's head in his
hands, and wrenches it violently to one side. Another LOUD
CRACK is heard as Clayton's neck breaks.
Shades stands, straightens his suit, then calmly searches
through Clayton's pockets. He finds the envelope stuffed
with hundreds, pockets it himself, then picks up his flight
bag from the seat where he dropped it.
Clayton hangs over the seat like a silent, shattered doll.
INT. ARRIVALS TERMINAL -- EXIT RAMP -- AFTERNOON
Shades strides from the exit ramp again wearing his dark
glasses and now carrying the French horn case along with his
flight bag. He stands looking around, as if expecting someone
to meet him. No one is there and no one comes forward.
After several seconds of looking around, he scowls and moves
away, muttering angrily under his breath.
SHADES
Lousy goddamn amateurs! Can't even
meet you at the fucking plane like
they're supposed to!
EXT. AREA OUTSIDE TERMINAL -- AFTERNOON
Shades steps out of the terminal doors and starts to hail a
cab. Then he notices a sedan parked nearby with a YOUNG MAN
standing beside it holding a sign that says: "Jack Mathews."
The young man is in his 20's, well-dressed and clean-cut.
Scowling, Shades moves over to him and confronts him.
-----------------------------------------------------------------------------------------------------
28.
SHADES
I'm Jack Mathews. You were supposed
to meet me inside.
The young man's smile fades as he opens the back door.
YOUNG MAN
I was told to meet you here, sir.
MATHEWS tosses his bags inside, then follows them in.
MATHEWS
So somebody screwed up. Let's not
make it worse by wasting more time.
The young man is obviously put off by his passenger's brusque
manner, but he's also cowed enough to obey his instructions.
YOUNG MAN
Yes, sir!
INT. GAYLE STRICKLAND'S OFFICE -- AFTERNOON
Gayle is sitting at her desk as before, working diligently
on some kind of bar graph, when a KNOCK comes on her door.
Before she can look up and respond, the door swings open to
reveal a short, fat, bald MAN in his 50's. This is ORVILLE
LAMPERE, one of Gayle's two bosses. He's clearly agitated.
LAMPERE
Gayle! Sorry to interrupt, but can
you shake free right now? I have to
handle a bit of a 'family crisis',
and I need some help with it.
Gayle has risen promptly, fully alert to his presence.
GAYLE
Certainly, Mr. Lampere. I'll help
you in any way I can.
Lampere tosses her a set of keys, which she deftly catches.
LAMPERE
My daughter is sick at school and
needs a ride home. I'm tied down by
this gold run-up, my wife is playing
tennis, and every guy here is busy
with one damn thing or another.
Gayle keeps a painfully tight smile plastered on her face.
-----------------------------------------------------------------------------------------------------
29.
GAYLE
I'll pick her up. What school?
LAMPERE
Kramden Prep...over on 32nd. Thanks!
I owe you a nice lunch for this.
He ducks out and closes her door, leaving her smile to
transform into a bitter grimace.
GAYLE
Men!
INT. FULLY APPOINTED STRETCH LIMO -- AFTERNOON
Jack sits in the lap of luxury being driven along by the
stony-faced man who picked him up at the airport. He admires
the TV, the bar, the elegant leather upholstery, then speaks.
JACK
I have to tell you, I never expected
anything like this from you guys.
The driver looks into the rearview mirror. He's not friendly.
DRIVER
You're not exactly what we expected,
either, Mr. Mathews.
The man's tone is so grim, Jack settles into uneasy silence.
INT. THE PLAIN SEDAN -- AFTERNOON
Mathews sits in back, scowling at the car's ordinary interior
as the young man cautiously checks him out in the rearview.
MATHEWS
I thought you people ran a first-
class operation. This is shit.
The young man is offended, but swallows his anger.
YOUNG MAN
We don't believe in ostentation.
MATHEWS
'Ostentation'? What's that?
YOUNG MAN
Calling attention to yourself without
good cause....showing off.
-----------------------------------------------------------------------------------------------------
30.
Mathews thinks that over for a second, then nods approval.
MATHEWS
Yeah, I can see that. Keep a low
profile. Good thinking.
Both men fall silent as the car rolls along.
EXT. RINEHARDT BUILDING -- AFTERNOON
Jack's limo pulls up in front of the Rhinehardt Building, an
old-style, 20-story shrine with an ornate marble facade.
The driver gets out and opens the limo's back door. Jack
steps outside and cranes his neck up at the entire building.
JACK
I love this old thing! In school I
did one of my best papers about it.
(looks at driver)
Nobody told me you people were located
in the Rhinehardt Building.
That baffles the driver, then he speaks condescendingly.
DRIVER
Where else would we be located?
Taking his cue from the driver's patronizing attitude, Jack
shrugs and then hardens his expression into one of business-
like purpose. He gathers his briefcase and portfolio holder,
then motions for the driver to lead the way inside.
EXT. OUTSIDE KRAMDEN PREPRATORY SCHOOL - AFTERNOON
Gayle sits in her boss' car, a convertible BMW 325i with its
top down, as EUNICE LAMPERE, the boss' "sick" daughter, is
escorted from the building by a female ASSISTANT PRINCIPAL
who is middle-aged and furious as she drags Eunice along.
Eunice is every parent's nightmare of a 16-year-old hellion.
She's punked out to the max, with lawn-mowed, magenta-striped
hair, a dozen silver rings hanging from her ears, nose, and
lips, and the antagonized expression of a baited bear.
The assistant principle pushes Eunice toward the car.
ASST PRIN
Here she is...and good riddance!
-----------------------------------------------------------------------------------------------------
31.
EUNICE
Eat me raw, cheese brain!
ASST PRIN
Tell Mr. Lampere a refund of his
'endowment' check is in the mail.
Tell him she's all his--again!
Gayle sits slackjawed as Eunice climbs in and speaks to her.
EUNICE
Move it, dyke. My boyfriend beats me
up when I'm late.
Glowering, Gayle starts the car and drives away.
INT. ELEVATOR IN RHINEHARDT BUILDING -- AFTERNOON
Jack and his driver step inside and the doors close. The
driver pushes a button, then speaks in his menacing tone.
DRIVER
Just so we understand each other,
Mathews.... I wanted this job myself.
Unfortunately, my father didn't think
I could do it professionally enough.
He felt we needed the best.
Now, to me you don't seem like the
best of anything, but your reputation
speaks for itself. So here's what I
want you to keep in mind:
If you screw this up in any way,
I'll be in your shit so hard and so
deep, you'll think you're using the
fucking Queen Mary for a suppository!
That vicious threat leaves Jack standing wide-eyed and open-
mouthed as the elevator doors open and the driver steps out
ahead of him. Jack can only shake his head and MUTTER:
JACK
And I thought Cavanaugh was tough!
-----------------------------------------------------------------------------------------------------
32.
EXT. THE BMW CONVERTIBLE -- DRIVING ALONG -- AFTERNOON
Eunice pushes in the cigarette lighter, then fishes a huge
joint from a pocket. She lights it, takes a deep hit, then
gives Gayle a studious gaze before offering it to her.
EUNICE
Here you go, lady...lighten up your
lousy, money-grubbing life.
Gayle starts to snap something back at her, then reconsiders.
She puts a phony smile on her face, reaches out for the joint,
takes it, then flicks it up into the convertible's open air.
GAYLE
Ooops...it slipped.
Eunice reacts like one of her face piercings has just been
ripped out, but then she, too, reconsiders.
EUNICE
Pack your shit when you get back,
you cunt! You're as good as fired!
At that moment Gayle looks as if she couldn't care less.
INT. RHINEHARDT BUILDING HALLWAY -- AFTERNOON
The driver leads Jack along a hallway richly appointed with
large oil paintings and portraits, and lined with unmarked,
polished doors, at the end of which is a wide double-door.
Jack's expression is laced with concern as he follows along.
EXT. MORMON HEADQUARTERS -- DOWNTOWN -- AFTERNOON
The sedan pulls out of traffic to stop in front of a clearly
non-secular building. SEVERAL older, pious-looking MEN come
out of the front door to greet their newly-arrived 'guest'.
The young man driving hurries out and opens the back door so
his passenger can get out. Mathews does so and is greeted by
warm smiles and kind words of greeting from the Mormon church
elders, who do their best to appear friendly and hospitable.
ELDERS
Welcome, Mr. Mathews! Welcome!
Mathews is appalled by both the religion-themed building and
the old men coming out of it. He wastes no time shoving the
young driver away from the sedan, then he piles back in it.
-----------------------------------------------------------------------------------------------------
33.
He starts its engine and ROARS away with a wailing SCREECH
of tires and twin puffs of burning rubber. The Mormons--old
and young--are left to stand there looking utterly baffled.
INT. THE SEDAN -- AFTERNOON
Furious, Mathews dials his cellphone. It is quickly answered.
VOICE (O.S.)
Stanley Rhinehardt's office....
MATHEWS
Get Rhinehardt on the line, now!
INT. RHINEHARDT BUILDING -- SECRETARY'S DESK -- AFTERNOON
Sitting at her desk is DORIS ROBERTS, Stanley Rhinehardt's
plump, 60-ish secretary. She clearly knows her drill.
DORIS
Whom may I say is calling?
INTERCUT BETWEEN DORIS AND MATHEWS AS THEY TALK.
MATHEWS
Jack Mathews...he knows me.
Doris reacts visibly to that name, becoming more alert.
DORIS
Indeed he does.
MATHEWS
(becomes irate)
Dammit, lady, put him on! There's
been a major fuck-up out here!
DORIS
(smiles primly)
Indeed there has. You see, he's in a
meeting now with the real Mr. Mathews,
so don't bother calling back...jerk!
Doris punches a button on her phone as Mathews dials the
number again. He gets the "blocked call" message.
OPERATOR (O.S.)
Your call cannot be completed....
Mathews throws his phone onto the dashboard, then slams his
palms onto the steering wheel. He is ragingly pissed-off.
-----------------------------------------------------------------------------------------------------
34.
INT. RHINEHARDT CONFERENCE ROOM -- AFTERNOON
The driver leads Jack to the open end of a conference table.
At the opposite end sit FIVE MEN, all old and dignified and
displaying the 'serious' expressions he was told to expect.
70-year-old STANLEY RHINEHARDT sits at the center of the far
end. He is the most distinguished and serious of the group
around him. He waits as the driver takes an empty seat beside
him. There is a clear physical resemblance between them.
Meanwhile, Jack places his briefcase and portfolio holder on
the far end of the table as the half-dozen men scrutinize
him. He can only stare back with ill-disguised anxiety.
Finally, white-haired Rhinehardt rises and speaks to Jack,
indicating the chair at the opposite end of the table.
RHINEHARDT
Please have a seat, Mr. Mathews.
Jack follows that instruction, but not smoothly.
RHINEHARDT (CONT'D)
I'm Stan Rhinehardt. My son, Cable...
(indicates him)
...drove you here. These men are my
closest personal advisers.
(gestures at them)
I trust these men with my life, which
I am proving by having them at this
meeting with you. They all understand
the extreme seriousness of what we
are about to undertake, and that the
penalty for indiscretion is...death.
Jack can't help an involuntary GULP at that word.
RHINEHARDT (CONT'D)
Of course, you are subject to the
same proviso. If knowledge of this
meeting--or even of our contacting
you--ever becomes public in any way,
we'll be obliged to have you killed
...at any cost to us in finances or
in reputation. Is that clear?
Jack is so flustered all he can manage is a barely audible
WHIMPER as he forces his head to move up and down.
-----------------------------------------------------------------------------------------------------
35.
RHINEHARDT (CONT'D)
All right, then. With those unpleasant
formalities out of the way, let us
get down to the business at hand.
As I said when we made our arrange-
ment, Rhinehardt Industries is one
of America's oldest and most stable
corporations. My father took it over
from his father, and Cable will take
it over from me...assuming we can do
something about this Bowman character.
He slides an 8" X 10" PHOTO across the table to Jack, who
starts to pick it up, sees his hands shaking, and presses
his palms on the table beside it. He can see it clearly.
INSERT shows RIGGER BOWMAN, a handsome man in his late 40's.
Cable stands up and his father sits down. He moves over to a
prop board and lifts its cover to reveal a flow-chart graph.
CABLE
Rigger Bowman is the most ruthless
corporate takeover artist in America.
He targets old, family-operated com-
panies like Rhinehardt Industries,
whose aging stockholder base permits
him to orchestrate blistering cost-
per-share run-ups before he pulls
the rug out from under everyone.
Once he does that, the company has
to sell off core assets to defend
itself, or fold up and sell out for
a fraction of its worth. In either
case, the target company loses big
and the raider makes a killing.
At that point the senior Rhinehardt cuts back in from his
seated position at the head of the table.
RHINEHARDT
Mr. Bowman has, in fact, chosen
Rhinehardt Industries as his next
takeover target, so he has left us
no alternative but to kill him first.
CABLE
Which is why we have hired you...
(a touch of sarcasm)
...the world's best hit man.
-----------------------------------------------------------------------------------------------------
36.
Cable returns to his seat as every eye in the room bores in
on Jack, who now understands the peril of his situation and
can only think to try to worm his way out of it.
JACK
Wha...what if there's been...uhmm
...some kind of mistake?
Every eyebrow at the opposite end of the table rises
ominously. That is far removed from what they expected to
hear from a man as supposedly deadly as "Killer" Mathews.
Jack realizes he has wandered onto very dangerous terrain.
RHINEHARDT
What...exactly...do you mean?
Jack bears down on himself and grits his teeth, realizing
it's now or never. A calm expression of competence sweeps
over his face as he leans back in his seat and begins doing
a passable impersonation of a tough but cautious killer.
JACK
It's simple. I'm in no position to
give refunds, so I have to make sure
potential clients are certain there's
no other way to resolve a dispute.
CABLE
(still sarcastic)
You give business advice, too?
Every corporate man is now on edge and clearly swinging over
to Cable's skepticism. But Jack isn't finished.
He rises and stalks to Cable's seat, ranting like Eddie Murphy
in the "Beverly Hills Cop" movies...same cadence, same volume.
JACK
What I give is service, fuckhead...
service with a capital S. And a part
of that service is making sure my
clients don't do anything stupid.
That's why I'm Number One at what I
do, and you're in your 40's and still
sucking hind tit to your Old Man!
Infuriated by that insult, Cable starts up out of his chair,
but his father reaches out a firmly restraining hand.
RHINEHARDT
That's enough, Cable!
-----------------------------------------------------------------------------------------------------
37.
Still furious, but respecting his father's command, Cable
eases back down with obvious reluctance.
Rhinehardt then looks up at Jack, speaking sincerely.
RHINEHARDT (CONT'D)
Please accept our apologies, Mister
Mathews. We didn't mean to doubt you
or your methods. It's just...this is
very new to us and we're not sure of
what to expect...or how to behave.
Jack lifts himself back upright and straightens his jacket,
looking for all the world like a very dangerous man pulling
back from the edge of kicking the holy shit out of someone.
RHINEHARDT (CONT'D)
Now, to answer your question, there
is no doubt Bowman has targeted us.
He's lining up proxies as we speak.
So he must be taken out in the next
forty-eight hours or we're history.
Naturally, our great advantage is
that there must be a hundred people
with equal or better reasons to see
Rigger Bowan dead and gone. So as I
said when we negotiated your fee...
not many fingers will point our way.
Cable takes that opportunity to cut back in.
CABLE
The main thing is, if you can't do
it 100% right...don't even try it.
We can't afford any loose ends.
Jack has fully transformed into his "tough killer" role.
He's going at it full-bore, milking it for all it's worth.
JACK
You pay for the best, you get it.
Rhinehardt nods and, looking genuinely concerned, he adds:
RHINEHARDT
I think I speak for all of us...
(a sour look at Cable)
...when I tell you how much we regret
that things have degenerated to this
sad state. Conspiring to murder is
certainly not a position any of us
ever dreamed we'd find ourselves in.
-----------------------------------------------------------------------------------------------------
38.
Rhinehardt's four cronies nod, while Cable scowls at Jack.
JACK
(callous)
Please...you're breakin' my heart.
He walks to his end of the table, puts the picture of Bowman
in his briefcase, then picks up it and his portfolio holder.
JACK (CONT'D)
I'll see you after it's done.
He turns and starts moving away with an expression of pure
relief on his face. Then Cable's VOICE comes at his back.
CABLE (O.S.)
One last question....
Pure relief becomes pure alarm as Jack stops walking.
CABLE (CONT'D)
What's in that portfolio case?
Caught off-guard, Jack stalls by gazing down at it, mental
wheels grinding. Then his expression is transformed by relief
and he turns to face the music.
JACK
It's a saw blade.
CABLE
A what?
JACK
(off-handed)
A special titanium alloy saw blade.
Circular. For cutting bodies into
tiny pieces that can't be traced.
To his audience's stunned horror, he expounds like a pro.
JACK (CONT'D)
Ever since the Hoffa job, these babies
have been the only way to go. Quick,
clean, quiet...totally professional.
He steps back toward them and starts to unzip the case.
JACK (CONT'D)
Here, let me show you....
He "notices" their apprehension, then smiles sympathetically.
-----------------------------------------------------------------------------------------------------
39.
JACK (CONT'D)
On second thought, just take my word:
it slices right through the hardest
bone with barely a splatter. Every
top hit man has to have one.
(a wry grin)
Like you said, 'no loose ends'....
With that his expression turns cold, he turns to leave, and
this time no one at the table speaks as he exits the room.
INT. HALLWAY OUTSIDE CONFERENCE ROOM -- AFTERNOON
As the polished double doors close behind his back, Jack's
confident smile and swaggering walk are immediately replaced
by a panic-propelled sprint to the elevator he rode up in.
INT. RHINEHARDT BUILDING'S LOBBY -- AFTERNOON
Mathews storms into the lobby. Off to one side is a wide,
semi-circular desk with a SECURITY GUARD sitting behind it.
When he sees Mathews, he motions for him to come over.
GUARD
Please step over here, sir. Who would
you like to see?
MATHEWS
(icy fury)
Stan Rhinehardt. Get him on the phone,
now--I don't care what it takes.
GUARD
That's impossible, sir. But if you'll
give me your name I'll--
Mathews cuts him off by reaching over the curved desk to
grab his necktie and jerk him forward. Simultaneously, Mathews
reaches inside his jacket to draw his pistol from its shoulder
holster, shoving the barrel against the guard's left nostril.
MATHEWS
Tell him it's the real Jack Mathews!
Terrified and without another word, the guard reaches beside
himself and picks up a phone receiver.
-----------------------------------------------------------------------------------------------------
40.
INT. CONFERENCE ROOM UPSTAIRS -- AFTERNOON
Still at the table, the men are debating the results of their
meeting with 'Jack Mathews.' Cable speaks, obviously unhappy.
CABLE
I was with him a lot longer than any
of you, and I just didn't get a good
feeling about him. He wasn't...tough
enough...or something.
RHINEHARDT
Not tough enough! For God's sake,
Cable! The man carries a sawblade
around with him! He's a maniac!
Just then a phone on the table RINGS. One of the other OLD
MEN reaches out to answer it. The others are SILENT as he
listens, then hands it to Rhinhardt.
OLD MAN
Speak of the Devil...for you.
Looking puzzled, Rhinehardt takes the phone, listens for a
moment, then bolts upright as his expression changes to shock.
RHINEHARDT
What?!
(pauses to listen)
Goddammit!
(pauses again)
All right, listen, he's on his way
down as we speak. He's 30-ish, medium
height, dark suit, carrying a dark
briefcase and portfolio holder.
(urgent)
Stop him but do not kill him! We
have to find out who he is and if
anyone sent him to do this to us--
especially if Bowman sent him!
He SLAMS the phone down and looks up with a mixture of rage
and fear as his associates lean forward in their chairs.
RHINEHARDT (CONT'D)
The man we saw was an imposter.
CABLE
I knew it! And now he has everything
we said on tape! Sonofabitch!
-----------------------------------------------------------------------------------------------------
41.
INT. LOBBY AREA -- AFTERNOON
The elevator doors open and SIX MEN step out. All wear dark
suits, all have briefcases, and three carry portfolio holders.
Among them is Jack, but nothing distinguishes him from the
others, not even the hurried pace of his walk, because his
elevator cohorts are all doing the typical workaday rush.
Mathews is stymied. He stands beside the guard's desk, still
holding onto the poor man's tie, watching as the men move in
various directions. He focuses most intently on Jack's trio
heading for the front door.
As Jack nears it, Mathews realizes he has to do something
before all of his suspects get away, so he CALLS OUT:
MATHEWS
All right, asshole! Freeze!
Every man in the lobby--including Jack--freezes in mid-stride,
and some even lift their hands over their heads.
Jack glances over his shoulder and sees the sinister man at
the desk holding his pistol extended. He gauges the 50 feet
between himself and the man and bolts, rushing through the
door and onto the short curb leading out into the street.
EXT. STREET OUTSIDE RHINEHARDT BUILDING -- AFTERNOON
Jack flees across the sidewalk, between vehicles parked at
the curb, into the street.
The first car he sees coming is a white BMW 325i convertible.
He lifts and waves his briefcase and portfolio holder and
steps in front of it. With a SQUEAL of tires, the car barely
avoids running him over. Gayle Strickland is behind the wheel.
Jack tosses his briefcase and portfolio into the empty front
passenger seat, then dives into the open rear seat.
INT./EXT. THE OPEN BMW CONVERTIBLE -- AFTERNOON
As soon as Jack is sprawled in it, he lifts-and-spins his
head to look over the top of the car's door.
He sees Mathews exiting the building's door as Gayle twists
in her seat to SHOUT over her shoulder at him.
-----------------------------------------------------------------------------------------------------
42.
GAYLE
You! Get out of this car--right now!
Sizing up what the stopped car means, Mathews holsters his
gun and starts sprinting the fifty feet to the car.
JACK
(whirls to face Gayle)
Please, lady, drive! That guy is
coming to kill me!
Horns start HONKING behind the convertible as Gayle SHOUTS.
GAYLE
I said get out and I mean it!
JACK
He might kill you, too! He's supposed
to kill anyone who knows anything
about what I know!
GAYLE
I don't know what you know! I don't
even know you!
JACK
He doesn't know that!
Jack's hysteria finally affects Gayle, who glances at the
ominous-looking brute now only a few feet away from the BMW.
Mathews dives for the back seat, just as Jack did earlier.
Jack SHOUTS at Gayle as he prepares to defend himself.
JACK (CONT'D)
Drive!
Gayle accelerates just as Mathews hits the car, missing the
back seat but landing on the trunk. His right hand grips the
snapped-down covering that secures the convertible's folded
top, while his left extends to the bumper to act as a brace.
Jack promptly starts flailing at Mathews' deathgrip on the
covering. He pounds, pries, tugs, and twists with his hands,
but Mathews seems impervious to pain.
His face is clear to Jack, only his own extended arm-length
away, and apart from the strain of hanging on, there is also
a hint of amusement--perhaps even pleasure.
Jack redoubles his efforts, kicking at Mathews' hand with
his left foot. Just as he causes it to let go, he sees
Mathews' left hand snap into position on the covering.
-----------------------------------------------------------------------------------------------------
43.
Jack turns his attention to that hand and the right one comes
back into place. Now Mathews is realigned on the trunk, having
gone from perpindicular to parallel to the car's direction.
It's now clearly just a matter of time before Mathews will
be able to pull himself into the back seat with Jack.
INTERMITTENT ANGLES ON GAYLE
While that contest plays out, Gayle manages two things: she
keeps the car moving forward by weaving in and out of traffic,
dodging pedestrians and running stoplights; and she monitors
the battle going on behind her with glances over her shoulder.
FOCUS ON THE TWO COMBATANTS
Now with a solid, two-handed grip on the covering, Mathews
pulls himself in while dodging Jack's kicks and punches,
turning them into glancing blows he doesn't seem to feel.
His grimace of effort remains almost a smile as he finally
propels himself into the back seat, landing on his knees on
the passenger side opposite Jack, who is behind Gayle.
Everything Jack tries is futile, and Mathews quickly has his
prey's throat in his hands. Jack tries to break the hold,
but his opponent is too big and too strong.
Jack musters a desperate lunge upward, to his feet. Mathews
goes up with him, leaving both combatants with one foot in
the back seat and one foot on the back floor, Jack facing
the passenger side, Mathews facing the driver side.
That move puts Jack at a tremendous disadvantage, dangling
in Mathews' grasp. Once Mathews has that leverage and control,
he SHOUTS at Gayle.
MATHEWS
Pull over and stop--right now!
Gayle whips around at that to see Mathews' evil glare and
Jack's bloated, crimson face above Mathews' squeezing hands.
She gives a GASP of terror and then--rather than stopping
the car the way Mathews intended--she stands on the brakes.
That produces a sharp SQUEAL of tires as the car stops on a
dime, sending both upright men tumbling over the passenger
seat and into the front seat with Gayle. Jack ends up near
the stickshift, Mathews near the passenger door's handles.
-----------------------------------------------------------------------------------------------------
44.
Jack lands cleanly, torso on the seat, butt and legs against
the back. His taller opponent's head slams into the top frame
of the windshield as his body slumps into the passenger seat.
That blow stuns the big man into incomprehension.
Coughing and gasping for breath, Jack rubs his throat as he
struggles to right himself in the front seat as Gayle SCREAMS
at his back. His attacker lies crumpled against his chest,
resting on both his briefcase and his portfolio holder.
GAYLE
(near hysteria)
Get out of this car! Both of you!
Jack doesn't acknowledge her. His focus stays on Mathews.
Meanwhile, cars STACK UP behind the stalled BMW and HORNS
start blaring again. Jack acknowledges them as he acts.
He yanks his briefcase free from under Mathews, but two tries
fail to budge the larger portfolio holder. He leaves it. He
staggers to his feet and climbs/scrambles out of the car,
instinctively knowing he has to leave the scene--fast.
EXT. STREET IN NEW YORK CITY -- AFTERNOON
Jack hits the street and steadies himself, then he glances
back into the car at Gayle. He shows how dazed he is by trying
to put the best possible face on what has just happened.
JACK
(cracking voice)
It's just a bad misunderstanding...
that's all...just a big mistake....
Traffic begins to creep past as DRIVERS SHOUT EXPLETIVES and
Jack turns to move toward the curb. Gayle SHOUTS after him.
GAYLE
Wait! Where are you going?
JACK
Away...I have to get away....
GAYLE
What about me? You can't just leave
me here with him!
Jack is still too stunned to deal with her properly.
JACK
I'm sorry...I have to go now.
-----------------------------------------------------------------------------------------------------
45.
He starts picking his way through the traffic, toward the
curb, as Mathews utters a loud MOAN and makes a stirring
MOVEMENT with one of his hands.
Hearing and seeing him move causes Gayle to make a command
decision. She grabs her purse, opens the driver's door, and
runs after Jack, leaving the keys hanging in the ignition.
GAYLE
Hey, wait up! I'm not staying here
with that gorilla!
The DRIVERS stuck behind the BMW are livid as Gayle abandons
her vehicle in the middle of a busy New York street. But her
mind is on other things now.
She darts and weaves through the traffic to catch up with
Jack, who staggers more than walks, still in a bit of shock.
GAYLE (CONT'D)
(grabs his arm)
Listen! I want an explanation of
what's going on here!
Her grip and her sudden presence snap Jack out of his daze.
He jerks his arm away from her and resumes walking rapidly.
JACK
I told you, it's a misunderstanding.
But it's serious. They're ready to
kill people over it.
Gayle has to hustle to keep up with Jack as they blend into
the usual mid-afternoon PEDESTRIAN TRAFFIC on the sidewalk.
GAYLE
Then for God's sake, go to the police
and let them handle it!
JACK
Not until I'm someplace that maniac
can't get at me.
Gayle thinks that over and agrees it makes sense.
GAYLE
I'm staying with you until the police
take over.
JACK
You should go back to your car. He'll
probably be awake and gone by then,
anyway. He won't stick around.
-----------------------------------------------------------------------------------------------------
46.
GAYLE
What makes you think that?
JACK
(exasperated)
He's a killer! The police will be
there soon! Connect the dots!
GAYLE
(unperturbed)
The car belongs to my boss. I was
doing him a favor. He'll just have
to accept that I had to abandon it.
EXT. END OF THAT BLOCK -- AFTERNOON
They reach that block's corner and Jack leads Gayle around
it, still walking fast but not fast enough to draw attention.
JACK
It'll probably get towed.
GAYLE
I'll pay the fine.
JACK
Or stolen.
GAYLE
Insurance.
Jack gives up, looks for a taxi, spots one, flags it down.
It pulls over and they both climb in.
INT. TAXI -- AFTERNOON
Jack gives the DRIVER instructions.
JACK
Twenty blocks, any direction.
DRIVER
What do you mean?
JACK
Go twenty blocks in any direction.
Stop wherever that is, we get out.
DRIVER
Is this some kind of game?
-----------------------------------------------------------------------------------------------------
47.
GAYLE
Yes, it's a game. Now drive, please.
EXT. BACK AT THE BMW -- AFTERNOON
TWO DRIVERS of stopped cars stand around the BMW as killer
Jack Mathews comes to in it. He woozily rights himself in
the passenger seat as ONE of the DRIVERS asks if he's okay.
DRIVER
Hey, man...you okay?
OTHER DRIVER
Just hang on, buddy...I called the
cops on my cellphone.
Ignoring them, Mathews notices the keys still in the ignition.
Without a word he slides over into the driver's seat, starts
the engine, and drives away, weaving a bit as he goes.
The two men standing there just look at each other and shrug.
EXT. NEW YORK STREET CURB -- AFTERNOON
Jack and Gayle exit their taxi. Where they are has a deli on
one corner, a bar across the street, and two office buildings
on the other corners. It's not as congested as the area they
were in before. It's more like a neighborhood.
GAYLE
(whispers)
God, that's an incredible story!
JACK
(normal tone)
He's gone...we can stop whispering.
GAYLE
Oh...right. Anyway, it's the kind of
switch that happens in old movies.
Hitchcock. You watch old movies?
JACK
We have more important things to
discuss than old movies, don't we?
Gayle nods, graciously absorbing his rebuke.
GAYLE
Touche. Let's call the police.
-----------------------------------------------------------------------------------------------------
48.
Jack pulls out his cellphone and finds his hand is shaking.
Embarrassed, he looks across the street toward the bar.
JACK
I think I need a drink or two before
I'm ready to talk to the cops. You
don't have to join me if you don't--
GAYLE
(doesn't miss a beat)
A drink sounds good to me now, too.
EXT. NEW YORK STREET CURB -- AFTERNOON
The BMW is parked at the curbside while Mathews stands at
a pay phone nearby. A trickle of blood runs down the right
side of his head as he speaks.
As he talks, he occasionally damps his wound with a handker-
chief. He winces each time he touches it, but he's lucid as
he reads from the name tag on Jack's left-behind portfolio.
MATHEWS
That's J-a-c-k M-a-t-h-e-w-s. He
works for C-a-v-a-n-a-u-g-h and
Associates in Chicago. But that's
just his cover. He's been a high-
level drug dealer for many years.
(pauses to listen)
Mostly cocaine, but heroin when he
can get his hands on it. Anyway, a
drug deal went sour today and he had
to kill one of his couriers.
(listens again)
On a flight from Chicago to New York.
He just told me about it, so call
the airport and check it out.
(listens again)
Right, Kennedy. And by the way, he
works with a woman whose name you'll
have to get on your own, but she's....
He switches from reading the name tag on the portfolio to
the car's registration from the glove compartment.
MATHEWS (CONT'D)
....connected to a guy named Orville
Lampere, who drives a white BMW rag-
top with New York plate K-Y-7-0-7.
She could be Lampere's wife, I don't
know. I only saw her a few times.
He pauses to listen again, blood trickling down his cheek.
-----------------------------------------------------------------------------------------------------
49.
MATHEWS (CONT'D)
Look, it's personal between him and
me. I'm a doper too. He burned me on
a deal, so I owe him a major squeal.
(listens once again)
If you don't want my information--
fuck you! It's your loss. But it is
a solid tip. Just check it out.
He hangs up the pay phone and walks to the BMW, taking out
his cellphone as he goes. He dials it as he gets in the car.
MATHEWS (CONT'D)
This is Jack Mathews...the real one.
Get Stan Rhinehardt on the line.
(waits a few seconds)
I've got good news and bad news....
INT. BARROOM -- AFTERNOON
A typical neighborhood pub. The mid-afternoon crowd is slack:
a handful of PATRONS at the bar, paying boozy attention to a
soap opera droning on the elevated TV set.
Six booths along one wall are all empty. Jack and Gayle take
the one farthest to the rear, away from everyone else. The
BARTENDER comes right over to take their order.
BARTENDER
What'll it be, folks?
JACK
Jack Daniels, straight. Two of them.
BARTENDER
A double?
JACK
No, two separate drinks. Okay?
BARTENDER
Got it...
(turns to Gayle)
And the lady?
GAYLE
White wine...one for now.
The bartender nods, then leaves. Gayle reaches in her purse
and pulls out her cellphone, explaining to Jack as she dials.
-----------------------------------------------------------------------------------------------------
50.
GAYLE (CONT'D)
I better call my office....
(listens as it rings)
Lucia! It's Gayle. No, I had
some...uh...car trouble. Is Mr.
Lampere there? I need to ex--
(pauses to listen)
In a meeting, huh? Half an hour?
All right, then, I'll call back.
She hangs up as the bartender returns with their drinks.
INT. NEW YORK CITY POLICE STATION -- AFTERNOON
TWO DETECTIVES sit across from each other at facing desks.
They are both talking on the phones on their desks.
A series of INTERCUTS between them reveals what is going on.
DETECTIVE #1
So you can confirm that Jack Mathews
has worked at Cavanaugh and Associates
for the past eight years, yes?
DETECTIVE #2
G-a-y-l-e S-t-r-i-c-k-l-a-n-d...got
it. Securities analyst, eh? Been
there long? Right...okay...yeah.
DETECTIVE #1
Can you fax a recent photograph so
we can get an APB out on him? Yes, I
know that, but in a murder case as
fresh as this, every second counts.
DETECTIVE #2
We're not trying to pass judgement
prematurely, sir. We're just trying
to do our jobs. If it turns out she
is innocent, her name will be cleared.
(pauses to listen)
Yes, sir, I understand your concern.
INT. THE BAR -- AFTERNOON
Jack and Gayle sit in their booth, nursing their drinks and
looking worried, as if the situation is solidly sinking in.
-----------------------------------------------------------------------------------------------------
51.
JACK
It had to happened at the airport.
My instructions were to be picked up
outside the terminal, and my driver--
a real sonofabitch!--said he was sup-
posed to pick up the killer inside.
GAYLE
So you and that killer must have the
same name. And he must have found
the Mormon driver outside.
JACK
If they managed to connect in the
same weird way my driver and I did.
But the police can figure that out.
Gayle sips her wine, then leans foward with earnest intensity.
GAYLE
You know what I can't figure?
JACK
What?
GAYLE
Why didn't he kill you when he had a
perfect chance to? I mean, he could
have shot you or thrown you headfirst
into the street or broken your neck--
JACK
(wincing)
Enough already!
GAYLE
Okay, okay, but you understand what
I mean, don't you? He let you live.
JACK
How can you be so sure he let me
live? Maybe I fought him off.
GAYLE
No offense, but from what I saw, it
would be hard to call it a fight.
Knowing she's right, Jack hammers the second of his JD's and
then changes the subject.
JACK
I, uh...really appreciate that you
believe me about all this. I don't
think too many people would accept
my word as easily as you have.
-----------------------------------------------------------------------------------------------------
52.
GAYLE
I'm a securities analyst on Wall
Street, so I know the part about
Rhinehardt Industries is true. The
word about Rigger Bowman's takeover
attempt is out on our grapevine.
Jack nods, then retrieves his cellphone.
JACK
I'm ready to call the cops.
At that moment a NEWS ANNOUNCER breaks into the soap opera
the patrons are watching on the TV set hung above one corner
of the bar. Everyone watches now, including Jack and Gayle.
ANNOUNCER
We interrupt this program for an
important police bulletin....
A few hours ago an airline steward
was murdered inside a jet at Kennedy
Airport. His name is being withheld
pending notification of next of kin.
However, a man named Jack Mathews
and a female accomplice named Gayle
Strickland are the chief suspects.
Jack's and Gayle's jaws drop open and they look at each other
in utter, mortified shock as the announcer continues.
ANNOUNCER (CONT'D)
Mathews poses as an architect from
Chicago, but he's long been rumored
to be one of the midwest's largest
cocaine and heroin smugglers.
Ms. Strickland's involvement is less
clear to authorities, but because of
a background in high finance on Wall
Street, she is suspected of being
the Mathews syndicate's banker.
On the screen comes face-shot PHOTOGRAPHS of Jack and Gayle.
Both portraits reveal them in unmistakable detail.
ANNOUNCER (O.S.)
If anyone sees, has seen, or knows
the whereabouts of this pair, please
notify police at once by calling 911
(MORE)
-----------------------------------------------------------------------------------------------------
53.
ANNOUNCER (O.S.) (CONT'D)
or the emergency response numbers
flashing on the screen. Do not try
to apprehend them. They should be
considered armed and dangerous.
The photographs are replaced by a WIPE back to the announcer.
ANNOUNCER (CONT'D)
We now return to our regular program.
Jack and Gayle don't have to be told the depth of the mess
they are now mired in. She HISSES under her breath with a
mixture of continuing shock and freshening outrage.
GAYLE
Now I'm caught up in it, too!
Jack ignores her to focus on the alarmed look in the
bartender's eyes. Jack knows he knows.
In response, Jack jams his hand into his jacket pocket and
lifts it up as if there's a gun inside it. His expression
becomes rock-hard and his voice grates like Dirty Harry's.
JACK
I hope you all heard what that man
said 'cause you won't hear it twice.
Armed and very dangerous--emphasis
on 'very'. Everybody understand?
The bartender and patrons have raised their hands over their
heads and stare at Jack as wide-eyed as Gayle. He waits until
each one has nodded compliance, then he wiggles his "gun."
JACK (CONT'D)
Okay, good. Now, I want you all to
come over here and lay on the floor,
face down. Move it--now!
The bartender and his patrons hurriedly do as Jack instructs.
As they do, Jack can't help wisecracking to the bartender.
JACK (CONT'D)
Bet you wish you kept this place a
little cleaner now, don't you?
As the "captives" settle on the floor, above them Jack and
Gayle do a flailing session of SILENT MIMING.
She expresses her anger and outrage at getting caught up in
Jack's mess, while Jack just as wildly tries to portray his
innocence and to calm her down.
-----------------------------------------------------------------------------------------------------
54.
Finally Gayle seems satisfied that Jack is genuinely sorry
for what has happened, so--still playing hard-ass authority
figure--he turns his attention back to those on the floor.
JACK (CONT'D)
Okay, floor people, here's the deal.
Me and my friend are gonna call a
taxi. While we're waitin' for it,
we're gonna tie you all up.
(to bartender)
Barkeep, you got tape or twine or
anything like that behind the bar?
BARTENDER
M-m-masking tape...a big roll of it.
JACK
(goes to get it)
Perfect....
(to Gayle as he does)
Call a taxi.
Gayle stands to one side, watching Jack handle the situation.
Hearing his instructions, she pulls out her cellphone
GAYLE
(trys to mimic Jack)
Barkeep, where are we?
BARTENDER
Leo's...125th and Chesterfield.
EXT. OUTSIDE THE BAR -- AFTERNOON
Jack and Gayle walk from the bar to a taxi at the curb. He
is calm and resolute, but she's bristling with excitement.
GAYLE
God, you were great! How were you
able to do that so convincingly?
JACK
I fool around with impersonations
...you know, like a hobby.
GAYLE
Some hobby!
They arrive at the taxi and Jack reaches for the back door's
handle, but she restrains his arm before he can touch it.
-----------------------------------------------------------------------------------------------------
55.
GAYLE (CONT'D)
What about the people inside? Will
they be okay the way we left them?
JACK
Sure--the first new customer to walk
in will turn them loose.
INT. THE TAXI -- AFTERNOON
They climb in back as Gayle instructs the Jamaican CABBIE.
GAYLE
Central park north. And turn up the
radio. We like that kind of music.
CABBIE
(grins big)
You got eet, maam....
A REGGAE tune comes up LOUD as they talk in the back seat.
GAYLE
How could the Rhinehardt people so
quickly pull together a legal case
against us? I mean, drug smuggling!
Murder! That's serious stuff. And
the police are buying into it!
JACK
Buying into it, hell! They're in on
it! That's the kind of support you
can get when you have enough money.
GAYLE
You could be right. New York's finest
are not always New York's finest.
There's another pause as their problem looms even larger.
Then Jack looks at her with an expression of sympathy.
JACK
I can't tell you how sorry I am I
got you sucked up into this mess.
GAYLE
We both got sucked in--together; so
that's how we'll get out--together.
Mutually reassuring smiles slowly turn brittle and fade.
-----------------------------------------------------------------------------------------------------
56.
EXT. NORTH CENTRAL PARK -- LATE AFTERNOON
The taxi stops and lets them out. Jack removes his wallet,
looks inside it, and turns to Gayle.
JACK
I'm, ah, low on funds right now, and
I'd like to keep what I have left as
an emergency back-up. Sorry.
She frowns at him, then reaches inside her purse.
GAYLE
How low is 'low?'
JACK
Forty bucks. I've been, uhhh, having
some trouble managing my money since
my wife...ummm...she left me.
Gayle reacts but says nothing as she pays the cabbie.
EXT. IN THE PARK ITSELF -- AFTERNOON
They walk along averting their faces from each passerby.
JACK
I know you're wondering, so let me
just get it out in the open. My wife
didn't think I took life seriously
enough. I kidded around too much.
GAYLE
It's none of my business...and we
have much more important things to
worry about. Let's just drop it.
JACK
What about you? Are you married?
GAYLE
I want to be...someday. But up to
now my career has always come first.
JACK
Marriage can be great. Horrible when
it goes bad...but it can be great.
(pause)
I hope you make it.
GAYLE
I still have time. I'm not worried.
-----------------------------------------------------------------------------------------------------
57.
But everything about her voice and expression says she is.
INT. STANLEY RHINEHARDT'S OFFICE -- LATE AFTERNOON
Rhinehardt sits behind his desk, Cable sits in a chair
opposite the desk, and killer Jack Mathews sits on a couch
off to the left side of the desk.
Mathews holds an icepack against the right side of his head,
still in pain although as menacing as ever.
Typically, Cable is angry and agitated, while his father
maintains his usual air of cautious stoicism.
MATHEWS
We were lucky I always fly as an
alias. Otherwise, there'd be two
passengers with the same name. Now
the cops have bought my frame-up.
CABLE
So what? As long as that asshole is
able to tell people what he heard
this afternoon, eliminating Rigger
Bowman is pointless! Dad and I would
be arrested before his body got cold!
MATHEWS
Not necessarily. The timeframe is
still the same...your alibis are
still viable...I'm still pulling the
trigger. None of the mechanics of
the hit have changed.
RHINEHARDT
I may be missing something funda-
mental, Mr. Mathews, but I have to
echo Cable...so what?
Mathews rises, puts the icepack aside, and paces around.
MATHEWS
Framing the architect for murder
should make him think twice about
going to the police with his story.
If he lays low till after Bowman is
hit, he turns into one more conspiracy
nut claiming he knows who did it,
while you two have solid deniability.
-----------------------------------------------------------------------------------------------------
58.
CABLE
Isn't our concern that he might talk
now, before anything happens?
MATHEWS
Yeah, but even then, his case is not
airtight. It's still his word against
yours...but enough to make the police
and media crawl up your asses looking
for incriminating evidence.
RHINEHARDT
Which they're very likely to find.
MATHEWS
Time and inexperience would work
against you. So the only safe option
now is to put off moving against
Bowman until we can figure out what
the architect has done.
CABLE
Are you crazy? Today is Friday and
the takeover attempt kicks off Monday
morning! That's only two days!
MATHEWS
Two days is two days. I'll do the
best I can. Maybe he'll screw up and
give me the opening I need.
RHINEHARDT
I'm sorry, Mr. Mathews, but that man
could be anywhere! Here in New York,
back home in Chicago...you name it!
MATHEWS
I didn't say it would be easy. I'm
saying you either go with that plan,
or let Bowman swallow your company.
Rhinehardt and Cable share a distressed look. Cable's
expression is desperate, while Rhinehardt is exasperated.
EXT. A PARK BENCH -- LATE AFTERNOON
Jack and Gayle sit talking on the bench. In their hands each
holds a piece of newspaper they LIFT whenever someone strolls
past. They never miss a beat in their conversation.
-----------------------------------------------------------------------------------------------------
59.
JACK
Okay, you feel that what I heard
pretty much ruins the Rhinehardts'
plan to save their company.
GAYLE
Right. So unless they eliminate you
and your incriminating testimony,
killing Bowman is pointless.
JACK
So to keep me laying low and out of
their way, the Rhinehardts somehow
got the police to go along with a
murder and drug-dealing frameup.
GAYLE
That seems to fit the facts.
JACK
So our worst move might be to turn
ourselves in to the authorities....
GAYLE
Yes, but what's our alternative?
Jack has to think for a moment, then he erupts with joy.
JACK
Let's go to Bowman! We can tell him
the whole story and let him figure
out what to do about it!
Gayle shakes her head adamantly, which Jack mininterprets.
JACK (CONT'D)
Sure! Whatever Bowman does to protect
himself will automatically protect
us! It's perfect!
GAYLE
Rigger Bowman is a human shark! Trust
me, we can't trust him.
JACK
Are you sure?
GAYLE
Ask anyone on Wall Street. We'd be
better off trusting Stan Rhinehardt.
At least he has integrity.
JACK
Listen to you! You're apologizing
for a man trying to kill people!
-----------------------------------------------------------------------------------------------------
60.
GAYLE
I'm not apologizing for him! I'm
just saying I'd trust him before
Rigger Bowman, that's all.
JACK
Where does trust figure into it? I
mean, we're not going into business
with him. We'll be telling him why
and how his life is at risk, so all
he'll do is thank us for telling
him. He might even reward us!
GAYLE
I think it would be a mistake....
INT. STANLEY RHINEHARDT'S OFFICE -- LATE AFTERNOON
Rhinehardt, Cable, and Mathews are as before. Mathews is
back on the couch, again holding the icepack to his head.
Rhinehardt sits behind his desk, with Cable opposite him in
the armchair.
RHINEHARDT
What it comes down to, Mr. Mathews,
is that despite the brilliant ways
you've tried to keep this project
alive for us, too many things can
still go wrong before its completion.
Mathews listens passively, while Cable is angst-riddled.
RHINEHARDT (CONT'D)
(obvious regret)
We simply got into something over
our heads, and now we're paying a
just and fair price for our stupidity.
I'm glad the only real cost to us at
this point is no more than money.
Mathews starts to reply, but before he can, Cable leaps from
his chair, leans across the desk, and SHOUTS at his father.
CABLE
What about me? Don't I have a say in
what we do? This is my company, too,
isn't it? Don't I have a say?
Mathews observes the dynamic playing out before him as Cable
suddenly turns his way, as if pleading for support.
-----------------------------------------------------------------------------------------------------
61.
CABLE (CONT'D)
It's supposed to be my company when
he retires next year! Mine! And now
he's afraid to fight for it!
MATHEWS
You're talking to the wrong guy.
He glances at Rhinehardt, who has grown stern and calculating,
offering a glimpse of what has made him a successful C.E.O.
RHINEHARDT
Listen, Cable...carefully. I was and
I remain prepared to live with rumors
and innuendos about what we might or
might not have done to Rigger Bowman.
But if this last-gasp scenario should
happen to go wrong, it would make
rumors and innuendos seem appealing.
CABLE
You were ready to risk it before!
RHINEHARDT
I let you talk me into it against
my better judgement. Now Fate has
intervened to put me...maybe to put
all of us...back on the right track.
Rhinehardt gets up and goes around the desk to put a consoling
arm across his son's sagging, defeated shoulders.
RHINEHARDT (CONT'D)
C'mon, Cable...let's take our medicine
like men and be done with it. Okay?
Mathews has heard enough. He rises to leave.
MATHEWS
That's it? You're pulling the plug?
RHINEHARDT
Yes, I'm pulling the plug. But don't
worry, you'll get your fee in full,
in the manner we arranged.
Mathews cracks a small, grim smile, the first he's shown.
MATHEWS
Nobody stiffs a guy like me.
He turns and walks across the office, then stops at the door.
-----------------------------------------------------------------------------------------------------
62.
MATHEWS (CONT'D)
What about the architect? Want me to
call the cops and get him off the
hook...or let him twist in the wind?
A furious Cable answers before his father can respond.
CABLE
Let that fucker twist!
Mathews turns and exits the office, leaving Cable to glower
sullenly at his father, who turns away looking relieved.
EXT. ISOLATED AREA OF CENTRAL PARK -- LATE AFTERNOON
Jack and Gayle walk, still trying to figure out what to do.
JACK
I'm sure the police will be watching
where we live, where we work, who we
hang around with.... So wherever we
turn for help, they'll have us.
GAYLE
I don't want to get friends anywhere
near this mess. It's bad enough that
they'll be hearing I'm a drug-money
launderer and an accessory to murder.
JACK
Me, too. So where does it leave us?
GAYLE
(considers)
I think if we can get through the
week-end, we should be in the clear.
JACK
That's all? Just the weekend?
GAYLE
Here's how these takeovers work. For
the past few weeks Bowman has secretly
been lining up proxies to buy stock
shares of Rhinehardt Industries.
That buying spree is supposed to
start Monday morning. If the Rhine-
hardts can't stop him by then, it's
over. Bowman wins and they lose.
-----------------------------------------------------------------------------------------------------
63.
JACK
Okay. So where does that leave us?
GAYLE
With two options. Mine is that we
disappear for the weekend and let
them settle it among themselves.
(grimaces)
Or we can stick our noses in and
possibly save Bowman's life. But I
want to stress again that I don't
think he's at risk any more.
JACK
Wouldn't you rather be safe than
sorry with a man's life at stake?
Even a man like Rigger Bowman?
Gayle looks away, into the distance, not wanting to go along
but knowing she must. Then she SIGHS and looks back at Jack.
GAYLE
We need a safe base to operate from,
one that doesn't involve our friends.
JACK
What about a hotel? I mean, I know
we just met...but you can trust me.
GAYLE
I wouldn't be here if I didn't think
I could trust you, Jack.
JACK
Good, because like I said, I'm short
on money. You'll have to cover us.
GAYLE
(pats her purse)
I have credit cards.
JACK
Can't use them...they're traceable.
We have to pay cash for everything.
GAYLE
They can trace ATM's, too.
JACK
You're right, but all it will tell
them is that we're still in town.
GAYLE
That doesn't narrow it down much.
This is a great city to hide in.
-----------------------------------------------------------------------------------------------------
64.
JACK
Yeah, but we can't just walk into a
hotel now. We'll be recognized. We
have to come up with disguises.
GAYLE
Disguises...?
(considers a moment)
This is getting to be fun!
EXT. CENTRAL PARK COMMERCIAL AREA -- LATE AFTERNOON
Jack and Gayle approach a kiosk selling newspapers, magazines,
snacks, and a variety of caps, straw hats and sunglasses.
They try on various combinations of caps and shades until
Gayle settles for a dark French beret she pulls down to her
ears and the biggest pair of lenses on the rack.
Jack chooses a dark Yankee baseball cap and a smaller pair
of shades. Both now look considerably different.
EXT. THREE-STAR, GOOD-BUT-NOT-GREAT HOTEL -- EARLY EVENING
They stand across the street from it, going over their plan.
She holds his briefcase and her purse. He is empty-handed.
JACK
Okay, I'll go sit in the lounge like
I'm waiting for someone. Wait a few
minutes, then come in and register.
GAYLE
I'd still rather do it as a couple.
JACK
We've been over this! They'll be on
the lookout for a couple. So what is
it, huh? What's really wrong?
GAYLE
This beret doesn't match my suit!
JACK
Like this Yankee cap matches mine?
GAYLE
I don't like making bad impressions.
JACK
Who cares? We're in New York!
-----------------------------------------------------------------------------------------------------
65.
INT. HOTEL LOBBY (REASONABLY PLUSH) -- EARLY EVENING
According to plan, Jack sits in the lounge pretending to
read a newspaper. To one side of where he sits, a TV set
drones softly with a sitcom rerun. In a chair beside him
sits an OLD GENTLEMAN who is in fact reading a paper.
ANGLE ON GAYLE AT THE FRONT DESK
Gayle signs in at the front desk, where the DESK CLERK checks
her name and hands her a key.
DESK CLERK
There you are, Miss...Rogers...Room
428. Will you need help?
GAYLE
No, my husband will bring our big
bags when he arrives later tonight.
I can manage by myself until then.
The desk clerk gives her a knowing, almost salacious smile,
as if he suspects--or knows--this is an illicit rendezvous.
DESK CLERK
As you wish. Just let us know if we
can be of any further service.
Gayle moves toward the lobby's twin elevators. As she goes
she turns to Jack and subtly holds up four fingers.
ANGLE ON JACK IN THE LOUNGE AREA
He is just as subtly tracking her over the tops of his sun-
glasses. He returns her nod, then resumes "reading" as Gayle
hits the elevator button and one of the doors opens up.
She steps inside as the old man sitting with Jack lowers his
paper and speaks with a crisp British accent.
OLD BRIT
I say, young man, that's quite bad
for your eyes, you know, reading
through the smokies. Quite bad.
Jack starts to argue, but realizes he can't do anything to
draw attention to himself. He hesitantly removes his shades.
When he does, the old man's eyebrows lift in recognition.
-----------------------------------------------------------------------------------------------------
66.
OLD BRIT (CONT'D)
Blimey! You look a bit familiar.
Have we met before? Maybe here?
Jack strains to be cordially polite.
JACK
I don't think so. It's my first time
here. I'm just passing through.
Jack notices that on the TV the side-by-side photos of him
and Gayle are once again being broadcast. He reacts at the
sight of it, then rises to make his escape.
JACK (CONT'D)
Speaking of passing through...it's
just about time for me to leave.
He stands and shifts to make sure Heath can't see the TV.
JACK (CONT'D)
I hope you won't take offense, but....
HEATH
No, no...not at all! Go if you must!
Jack sees the pictures go off the screen, then turns to head
toward the elevators, putting his shades back on as he goes.
INT. FOURTH FLOOR ELEVATOR EXIT -- LATE AFTERNOON
Jack steps out of the elevator to find Gayle waiting for
him. They start moving along the hallway, side-by-side.
JACK
Listen, I need a better disguise.
GAYLE
Like what? A costume?
JACK
Exactly! I want to be incognito.
GAYLE
Where will we find a costume now?
JACK
I don't know and I don't care, but I
won't go out again until we do.
They reach room 428. Gayle opens it and they go inside.
-----------------------------------------------------------------------------------------------------
67.
INT. ROOM 428 -- LATE AFTERNOON
Silence engulfs them as the light comes on and they examine
a nice room with two queen-sized beds. Gayle fills the void.
GAYLE
I thought two beds would be best.
JACK
They are...good thinking.
GAYLE
I thought it would make us seem more
like a...a long-time married couple.
He turns to look at her. She is clearly conflicted.
JACK
I told you...you can trust me.
GAYLE
And I told you...I believe you.
But there is a slight hitch in her delivery as she says it.
INT. A DIFFERENT HOTEL ROOM -- LATE AFTERNOON
Killer Jack Mathews paces around in slacks and his under-
shirt, muscles rippling as he breaks apart and inspects the
pistol he carries in the underarm holster lying on the bed.
His nervous actions indicate a man in the throes of indecision
...a man trying to figure out what to do next...or deciding
how to go about what he has already decided.
INT. HOTEL ROOM 428 -- EARLY EVENING
Jack and Gayle sit on the edges of their beds, fully dressed,
watching the end of a local newscast. SCENES play out on the
SCREEN as they are described by an ANNOUNCER in VOICEOVER.
ANNOUNCER (V.O.)
The victim's name remains unknown
pending family notification...
Clayton's body-bagged corpse is wheeled from the 767 airliner.
ANNOUNCER (V.O.) (CONT'D)
...but there is no doubt in the minds
of NYPD officials that he was a drug
(MORE)
-----------------------------------------------------------------------------------------------------
68.
ANNOUNCER (V.O.) (CONT'D)
courier who used his job as an air
steward to facilitate his efforts.
(CUT TO wanted poster)
So once again, here are the principle
suspects. If anyone watching sees
them or knows their whereabouts,
please contact NYPD immediately.
(CUT TO announcer)
And now we go to Leo's Bar, where
the fugitive couple hogtied patrons
earlier this afternoon after---
Jack hits the remote and the picture goes off. He and Gayle
sit staring at the blank screen, still unable to fully grasp
the magnitude of the quagmire they have stumbled into.
GAYLE
I see it but I still can't believe
it.... It's like looking at someone
else...someone I don't even know.
JACK
Yeah, same here.... But it is us
they're talking about....
They continue staring at the blank screen as if utterly lost.
INT. KILLER MATHEWS' HOTEL ROOM -- EARLY EVENING
Now wearing his white shirt with his shoulder holster on,
Mathews sits on his room's bed, talking on his cellphone.
MATHEWS
He's at dinner, eh? Can you tell me
when he's expected to return?
(pauses to listen)
Got it. No, I'll call back then.
(pauses again)
No, no name. He can't reach me.
He hangs up showing his cold smile, then he holsters the
pistol under his arm, pulls on his suit jacket, checks himself
in a mirror to make sure there is no bulge, and he leaves.
INT. ROOM 428 -- EARLY EVENING
Jack and Gayle sit at the room's small dining table finishing
a room-service meal. There is no hint of strain as they chat.
-----------------------------------------------------------------------------------------------------
69.
JACK
So after sixteen years and getting
three kids well into their teens,
she more-or-less kicked me out.
GAYLE
Didn't you say she had a good reason?
Something about you not taking life
seriously enough? Wasn't that it?
JACK
That's a reason, not a good reason.
GAYLE
It depends on your point of view.
He starts to argue, then stops and changes the subject.
JACK
Okay....enough about me. What about
you? What's your story?
GAYLE
I always knew I wanted to work with
money, so I got a degree in finance
and the obligatory M.B.A. Six years
ago I came to conquer Wall Street.
JACK
Have you....?
GAYLE
(wry smile)
A tiny, miniscule portion of it.
JACK
What about romance? Any of that?
GAYLE
(slight discomfort)
A few nibbles, but no keepers.
JACK
Yet....
GAYLE
(hopeful)
Yet....
EXT. ELEGANT ITALIAN RESTAURANT -- EVENING
Killer Mathews exits a taxi and enters the restaurant.
-----------------------------------------------------------------------------------------------------
70.
INT. ITALIAN RESTAURANT -- EVENING
Mathews walks up to the MAITRE D', a suave middle-aged man
who clearly recognizes him.
MAITRE D'
Ahh, Mr. Mathews! So good to see you
again. It's been months.
MATHEWS
(amiable)
I've been out of the country again.
What can I say? Business.
MAITRE D'
(leading him inside)
As long as one's business is good,
one should say no word of complaint.
Has business been good for you?
MATHEWS
(a hint of grimness)
I'll find that out later tonight.
INT. ROOM 428 -- EVENING
Back in her tugged-down beret and sunglasses, Gayle enters
the room carrying a large brown paper bag, a grocery bag.
She looks doubtful as Jack eagerly moves toward her.
JACK
(reaching for it)
C'mon...what? What is it?
GAYLE
(handing it over)
I did the best I could. It was a
small shop with poor selection.
Jack reaches in the bag and pulls out an Arab's traditional
thobe and gutra headdress, along with the flowing, caftan-
like galabeya which accompanies it in their formal attire.
Jack is aghast at the walnut brown cloth in his hands.
JACK
Geeze, Gayle...didn't they have a
Khadaffi mask to go with it?
-----------------------------------------------------------------------------------------------------
71.
GAYLE
Look, you said incognito...
(holds up phony beard)
...this is incognito!
Scowling, he snatches it from her and heads for the bathroom.
She tries her best to ameliorate the situation.
GAYLE (CONT'D)
I got everything else we need, too.
Toothbrushes, toothpaste, dedorant....
He closes the bathroom door without acknowledging her.
INT. ITALIAN RESTAURANT -- EVENING
Killer Mathews dines alone. He shows surprisingly good table
manners as he subtly extends a hand to shield his wine glass
while graciously refusing a refill from an attentive WAITER.
MATHEWS
Thanks, but I'm working tonight.
Have to keep a clear head.
The waiter bows politely and moves away.
INT. ROOM 428 -- EVENING
Jack exits the bathroom in full desert regalia, and with a
dark beard and sunglasses that render his real self invisible.
GAYLE
Your own mother wouldn't know you.
JACK
She wouldn't claim me, either.
He studies himself in the mirror, turning this way and that.
JACK (CONT'D)
God, I hope this works....
Gayle turns to lead him from the room.
GAYLE
From now on you pray to Allah.
JACK
All right: Allah, I hope this works.
-----------------------------------------------------------------------------------------------------
72.
INT. HOTEL HALLWAY -- EVENING
They move away from where the elevators are, toward the end
of the hall with a lighted "EXIT" sign above the door.
As they go, Jack is fascinated by his flowing robe and plays
with its folds, getting used to the feel and the look of it.
GAYLE
Let's take the fire escape down.
That damn desk clerk leers at me
every time I go past him.
JACK
He knows what's what when a woman
alone checks in with no bags, pays
cash for the room, and says her
'husband' will join her later.
GAYLE
Then he's a jerk for not ignoring
it.
JACK
(pushes through door)
I didn't say he wasn't a jerk.
INT. HOTEL FIRE ESCAPE STAIRWELL -- EVENING
As they go down, Jack has to hold his "hemline" off his feet.
JACK
Where do we start looking for Bowman?
GAYLE
His office. With the takeover kicking
off Monday, he has a million details
to take care of between now and then.
He should be there all weekend.
JACK
Any idea where it's located?
GAYLE
I know where...the Westpark Plaza.
JACK
No kidding? My firm designed that
building! I worked on parts of it.
GAYLE
Really? Which parts?
-----------------------------------------------------------------------------------------------------
73.
JACK
(effacing)
The, ahh...elevators. I'm, uhh...an
expert at selecting and integrating
elevators into high-rise structures.
GAYLE
Are you putting me on now, or what?
JACK
Seriously...elevators are the core
of my creative life, pun intended.
GAYLE
Now I see why you spend so much time
fooling around with comedy.
(pause)
Speaking of that, let me hear your
Arab accent.
JACK
I never learned an Arab accent....
There's nothing funny about them.
By then they've gone down four floors to reach the door that
leads out of the hotel. Gayle doesn't let up on him.
GAYLE
I'm serious...take your best shot.
Jack tries, but it sounds more like India than Arabia.
JACK
Do you know why it is bad idea to
have sex at beer party in desert?
You get sand in Schlitz.
Gayle stands still for a long, grim beat, then shakes her
head as she opens the door.
GAYLE
Cute joke, but the accent sucks.
I'll have to do all the talking.
EXT. ALLEYWAY BESIDE HOTEL -- EVENING
Jack and Gayle step into a narrow alleyway between the hotel
and the building beside it. From there they walk the short
distance to the street fronting the hotel.
Gayle starts to flag a taxi, but Jack notices a pay phone
down the block and points at it.
-----------------------------------------------------------------------------------------------------
74.
JACK
Hold on. I'd like to make a call.
GAYLE
Why didn't you do that in the room?
JACK
If the cops have bugged our friends'
phones, they could trace it. If they
trace it to that phone, all they can
tell is that we're in New York.
GAYLE
I thought we agreed not to involve
our friends in this mess.
JACK
I'm not 'involving' anyone. I just
want somebody to know the truth so
my wife and kids can be reassured.
GAYLE
What about my family and friends?
Who's supposed to reassure them?
JACK
(snaps at her)
Okay, then, you call when I'm done!
GAYLE
(snaps right back)
I'd love to! But it's a bad idea to
connect anyone we know to this mess
until it's completely cleared up.
Jack pauses, and what little can still be seen of his face
shows indecision. But then he SIGHS and nods reluctantly.
JACK
All right...you win...let's go.
Gayle gives his shoulder a comforting pat, then turns to
hail a cab.
GAYLE
Taxi!
EXT. WESTPARK PLAZA -- NIGHT
The Westpark Plaza is one of those towering high-rises that
bristle on Long Island like spikes on a porcupine's back. A
TAXI pulls up in front of it and deposits Jack and Gayle.
-----------------------------------------------------------------------------------------------------
75.
She pays the DRIVER from the ATM cash now in her purse. As
the driver pulls away, Jack speaks to her matter-of-factly.
JACK
I don't know when and I don't know
how, but I'm going to pay you back.
A smile below her shades preceeds a gentle shake of her head.
GAYLE
Don't be silly. I couldn't buy an
adventure like this for twice the
price. You don't owe me a dime.
At that she turns and leads him toward the Westpark Plaza's
ornate entrance, going over their plan as they hurry along.
GAYLE (CONT'D)
Now...have we left anything out?
Jack shakes his gutra-draped, beard-and-shades-obscured head.
JACK
No, we've covered it fairly well.
All we have to do is make it work.
GAYLE
I wish I was as practiced at this
kind of thing as you are.
JACK
Relax...it's just play-acting....
INT. WESTPARK PLAZA LOBBY -- NIGHT
As in most big, security-conscious buildings, GUARDS are
posted at a desk in the lobby to control the flow of foot
traffic moving in and out. This has TWO, a male and female.
They watch the 'Arab' and the beret-clad woman sweep in the
front doors like they own the place. The guards glance at
each other as if to say, "Uh, oh...here we go again!"
MALE GUARD
(calls out)
Excuse me, folks! Who do you want to
see in this building?
Ignoring him, Jack and Gayle head for six elevators arranged
opposite each other. Seeing that, the guard moves to them.
-----------------------------------------------------------------------------------------------------
76.
GUARD
(louder)
Hey! You there! Stop!
Gayle glances his way, haughtily, as if to say, "You can't
possibly mean us, can you?" as she and Jack keep moving.
GUARD (CONT'D)
Yeah, that's right, lady--you!
By then the guard is on top of them, so Gayle tugs on the
folds of Jack's flowing galabeya. He turns on her in a fury,
spewing out an angry burst of utter GIBBERISH.
Gayle answers back in a short burst of her own GIBBERISH,
which barely manages to appease Jack. Jack tosses his head
into a high-chinned profile, as if he can't even stand to
look at the person who is causing this delay.
Gayle turns on the guard to speak with haughty disdain as
she jerks open her purse and yanks out a notepad and pen.
GAYLE
I hope you're happy, Mister....
(checks his nametag)
....Mister Rob-in-son. You have
angered and offended the Sultan.
ROBINSON is only slightly rattled by her superior attitude.
ROBINSON
The Sultan....?
Gayle's mouth turns down in a pained grimace as she HISSES.
GAYLE
Don't make him think you don't recog-
nize him! He's sensitive about--
Jack cuts in with another impatient burst of GIBBERISH. Gayle
reassures him in the same GIBBERISH, then turns on Robinson.
GAYLE (CONT'D)
You're making the Sultan angry.
ROBINSON
Well, you're both making me angry
'cause I'm a security guard and my
job is to announce all visitors to
this building. So if you want to go
up, tell me who he wants to see.
Jack simply starts moving forward, as if tired of playing
some silly game. Gayle stands firm staring at Robinson.
-----------------------------------------------------------------------------------------------------
77.
GAYLE
Are you trying to cause trouble?
Robinson senses the situation is getting out of control. His
tone softens as he backs off a little.
ROBINSON
Look, lady, I have a job to do. I'm
just trying to do it right. Now, why
can't you tell me who he's seeing?
GAYLE
Because the Sultan answers to no one
about anything--ever! It's against
his country's laws and his religion.
(leans toward him to
speak confidentially)
In his country you would already be
dead for delaying him even this much.
She makes a throat-slicing gesture, then calmly moves away.
Robinson is left standing there, rubbing his neck and no
longer pressing her on the issue of where they're going.
INT. AT THE ELEVATORS -- SAME SCENE
When Gayle makes it over to where Jack is, he is holding an
empty elevator's doors open for her.
She steps inside with regal aplomb, then turns to focus her
big shades on the watching guard as the door closes on them.
INT. INSIDE THE ELEVATOR -- SAME SCENE
Jack speaks matter-of-factly, as if to do otherwise would
somehow break the magical spell they've cast.
JACK
The building directory said he has a
suite on the twenty-third floor.
GAYLE
That's good news....
They start to rise, maintaining perfect propriety for the
first couple of floors. Then, as if air is leaking out of
twin punctures in separate tires, they both let held breath
spill from their lungs as relief sets in.
-----------------------------------------------------------------------------------------------------
78.
JACK
(ecstatic)
Jeeeeezus! You were great!
GAYLE
(delighted)
You weren't so bad yourself!
Amid SHOUTS and WHOOPS of joy, he takes her in his arms and
whirls her around a couple of times, causing a WARNING BUZZER
followed by a BLINKING LIGHT in the elevator's control panel.
He immediately puts her down to stare at the blinking light
until it goes out and they resume ascending smoothly.
GAYLE (CONT'D)
What is it? What's wrong?
JACK
This is a Cornish Regency Lifter...
light, fast, and efficient...perfect
for a business high-rise because you
need the speed and you normally have
a well-behaved passenger load.
But it's unstable if it gets jarred
around, so it's the kind that gets
stuck when college kids play grab-
ass in them. In a college dorm you
want something heavy and slow.
GAYLE
(impressed)
You really do know about elevators.
JACK
I told you...I'm an expert.
Their eyes drift up to the floor panel overhead. They're
passing the 20th. Both expressions resume a serious cast.
EXT. OUTSIDE ITALIAN RESTAURANT -- NIGHT
Killer Jack Mathews gets into a TAXI and makes one statement.
MATHEWS
Westpark Plaza, pronto.
-----------------------------------------------------------------------------------------------------
79.
INT. RECEPTION AREA OF BOWMAN'S OFFICE SUITE -- NIGHT
Jack and Gayle exit the elevator and move toward a pair of
large glass doors which read: "Consolidated Mergers Inc."
They push through the doors to confront the SECRETARY sitting
just beyond them. She is heavy-set, 50-ish, and stern-looking.
She has watched them very carefully as they approached her.
SECRETARY
May I help you?
GAYLE
We're here to discuss something of
great importance with Mr. Bowman.
The secretary starts to say something in return when her
desk phone rings. She excuses herself to answer it.
SECRETARY
Excuse me....
(picks it up)
Consolidated Mergers.
She listens for a moment, then her expression becomes intent.
SECRETARY (CONT'D)
Yes, Mr. Harwell...right away.
(punches intercom)
Sir? It's Mr. Harwell at Regency
Electronics...urgent...line one.
Gayle's mouth curves into a smile at that, but she is sober
again when the secretary turns her attention to her visitors.
SECRETARY (CONT'D)
I'm sorry, Miss....?
GAYLE
Simmons, Andrea Simmons. I'm an
interpreter for the House of Saud.
My employer, Prince Ibn el Saud...
Jack snaps off a curt nod at the mention of "his" name.
GAYLE (CONT'D)
...has heard Mr. Bowman wants to
capitalize another takeover. The
Prince may be interested in parti-
cipating...if the price is right.
The secretary looks at Jack, who hits Gayle with a burst of
impatient sounding GIBBERISH. She "calms" him with a gentler
stream of her own, equally incoherent GIBBERISH.
-----------------------------------------------------------------------------------------------------
80.
Meanwhile, the secretary notices the LIGHT has gone off on
her intercom, so she punches in to her boss.
SECRETARY
Sir, I hate to bother you, but I
think you should talk to the two
people out here at my desk.
She pauses to listen, then turns away and covers her mouth
as best she can, speaking in a muffled MUTTER.
SECRETARY (CONT'D)
His interpreter says he's a Saudi
Prince who might be interested in
buying into the Rhinehardt deal.
She listens to him again, glancing over her shoulder at them.
SECRETARY (CONT'D)
No, they didn't say how they found
out. But they do look genuine.
She listens again, nods, then turns to them with a smile.
SECRETARY (CONT'D)
The door at the end of the hall on
your left. Go right in....
EXT. WESTPARK PLAZA -- NIGHT
Killer Jack Mathews' taxi pulls up in front of the towering
edifice. He gets out, pays his bill, and stands there for a
moment sizing up the place. Then he moves to the entrance.
INT. WESTPARK LOBBY -- NIGHT
Mathews enters the front doors and walks to the large desk
where the guard Robinson and his female partner are stationed.
Robinson waits until the visitor stops, then he speaks.
ROBINSON
Good evening, sir. Who have you come
to see?
Mathews reaches inside his jacket as if about to bring out a
slip of paper. Robinson reaches for it and is caught by the
pistol whipping into his temple. He crumples like a wet rag.
Before the female can react, Mathews reaches over and swats
her into the same dreamland he sent her partner. He adjusts
them at their seats to look as if they're asleep on the job.
-----------------------------------------------------------------------------------------------------
81.
INT. RIGGER BOWMAN'S OFFICE -- NIGHT
In shirtsleeves, RIGGER BOWMAN sits at a cluttered, ornate
desk in the middle of an elaborately decorated office.
Now minus her sunglasses, Gayle sits on the edge of a chair
opposite the desk, while Jack--also minus his shades--paces
around in his flowing Arab garb.
Bowman listens intently as Jack makes his pitch.
JACK
So that's the whole story, Mr. Bowman.
What do you think?
Bowman pauses before replying. It's clear he is a careful
man, with words as well as with money.
BOWMAN
An incredible story, Mr. Mathews.
Not altogether unlikely, I'm sorry
to say. But incredible all the same.
He gets up and starts pacing on his own as Jack slides into
the padded leather chair beside Gayle's.
BOWMAN (CONT'D)
Where we go from here, I'm not sure.
I've been the target of death threats
before, but never one this serious.
(considers)
It's just hard to imagine Stan
Rhinehardt involved in something
like this. His jerk son, Cable...
him I can see; it's more his style.
JACK
Style, schmile! They're doing it!
I heard the plan and I fought that
dreadnought they hired. Trust me, he
is seriously bad news!
BOWMAN
Don't think I'm taking this lightly,
Mr. Mathews. It's just that I need
some time to adjust...to decide on a
proper course of action.
Jack gives Gayle's hand a reassuring squeeze as Bowman paces
around, then he moves to his desk and punches his intercom.
-----------------------------------------------------------------------------------------------------
82.
BOWMAN (CONT'D)
Miss Kramer? Get police captain Jeff
Michaels on the phone. At home, at
work, I don't care...just find him.
He waits for her acknowledgement, but nothing comes.
BOWMAN (CONT'D)
Miss Kramer? Are you there?
Suddenly the door to the office opens and Jack Mathews stands
framed in it, pistol in hand, smiling his cold, deadly smile.
MATHEWS
She's there, but she's taking a little
nap. Don't be too hard on her, though.
He taps the gun barrel to his temple as he enters the room.
MATHEWS (CONT'D)
She had some help going beddy-bye.
As he moves, Jack and Gayle rise and step into each other's
arms, while an alarmed Bowman stands upright behind his desk
and lifts his hands to shoulder height.
Mathews focuses on Gayle.
MATHEWS (CONT'D)
You look familiar, Miss....?
She turns her head away as Mathews reaches her and Jack,
whose eyes are wide and fearful.
Mathews studies Jack, then slowly reaches up to loosen a
sideburn of his lightly glued-on beard.
MATHEWS (CONT'D)
Well, well! If it isn't my namesake.
Fancy meeting you here. This must
really be my lucky day.
He pauses to let it all sink in, mental wheels almost visible
as he shuffles everything into place.
MATHEWS (CONT'D)
You must be telling nice Mr. Bowman
about nasty old Mr. Rhinehardt hiring
me to take him out? Is that it?
Jack doesn't speak, so Mathews jams the pistol barrel against
his nose. Gayle presses against him as he nods weakly.
-----------------------------------------------------------------------------------------------------
83.
MATHEWS (CONT'D)
Sure it is. But guess what? They had
a change of heart. Well, the old man
did. If it was up to his son...
(he turns to Bowman)
...you'd still be in my crosshairs.
Bowman is capable of figuring things out, too. He looks a
lot less terrified and slowly drops his hands.
MATHEWS (CONT'D)
Here's the deal, Bowman. Even though
the old man called me off your case,
Cable will rehire me to hit you.
Maybe not today... maybe not tomorrow
...but someday he will. When he does,
my professional code will oblige me
to carry it out. Understand?
Bowman nods as his hands reach his desk and he leans forward.
MATHEWS (CONT'D)
Technically, he has a first call on
my services. But if you beat him to
the punch by hiring me first...now...
tonight...I'll be free to make a
preemptive hit on him. You with me?
BOWMAN
Yes, I am. But before I answer, I'd
like to know one thing: why?
MATHEWS
Those lily-liver assholes aren't the
kind of people I like to do business
with. But in researching the hit on
you, I found out you're exactly the
kind of guy I like to work for.
Bowman pushes up off the desk to take a few steps sideways,
again thinking it over as Mathews shifts his position to
keep everyone covered with his weapon.
Jack and Gayle remain silently terrified.
BOWMAN
Cable is the reason I'm after
Rhinehardt Industries. He'll take
over next year after Stan retires,
and everyone on Wall Street knows
he's not up to the job.
-----------------------------------------------------------------------------------------------------
84.
BOWMAN (CONT'D)
He's an egocentric psycho who will
lose his company chunk by chunk in
the next decade. So why shouldn't he
just lose it all at once?
MATHEWS
Does that mean we have a deal?
Bowman flashes a cold smile that strongly resembles Mathews'.
BOWMAN
In a kill-or-be-killed situation, I
always prefer to be the one killing.
Mathews offers another of his rare, slight smiles as Jack
and Gayle make clear how shocked they are by this twist.
MATHEWS
I knew you were my kind of guy.
BOWMAN
We don't have a deal yet. What kind
of compensation are you looking for?
MATHEWS
I'm not thinking about this one in
my usual terms. This one will be my
retirement account. I want to be cut
in for 5% of the takeover's action.
Bowman and Gayle both react, then Bowman shakes his head.
BOWMAN
5% would erode my profit base too
much. 1%...take it or leave it.
MATHEWS
Maybe I didn't make myself perfectly
clear. I'm not asking, I'm telling.
If you don't hire me to get Cable,
and if you don't pay me what I want,
I'll take you out for the fun of it,
right here, right now. Understand?
BOWMAN
(matter-of-fact)
You take me out, you get nothing.
Now, it's 1%...take it or leave it.
Mathews aims his pistol at Bowman, but Bowman stands firm.
Then Mathews' expression transforms as he emits a LOUD GUFFAW
that explodes in the room like a shot.
-----------------------------------------------------------------------------------------------------
85.
Jack and Gayle flinch, but Bowman remains standing firm.
MATHEWS
I knew you were my kind of guy! I'll
take it. How do we make it legal?
Bowman rubs his hands together, immediately all business.
BOWMAN
I'll put Miss Kramer on it as soon
as she wakes up. Meanwhile....
He casts his eyes at Jack and Gayle, who realize their fate
has been hanging by the same thread as Cable Rhinehardt's.
Now they are terrified as Mathews grins evilly at them.
MATHEWS
Leave that to me. I owe them both
something for this afternoon.
BOWMAN
You're going to...ahhh...?
MATHEWS
We have a saying in my business...
no loose ends. I'll be back soon.
BOWMAN
(pleased)
We're going to work well together.
Mathews turns to Jack and Gayle, wiggling his gun in the
direction of the door.
MATHEWS
Move it....
Terror twists their features as Gayle speaks to Jack in a
choked WHISPER.
GAYLE
I told you Bowman was a shark!
Jack's expression could not hold more regret.
INT. RECEPTION AREA OF BOWMAN'S OFFICE -- NIGHT
Mathews escorts Jack and Gayle past a dishevelled Miss Kramer,
whose upper body lies sprawled across her desk, MOANING, as
she begins coming around from the pistol blow to her head.
-----------------------------------------------------------------------------------------------------
86.
As Jack and Gayle open the office's glass doors, Mathews
glances down at the aging, gray-haired woman he has injured.
He suffers a pang of some sort, then calls to his captives.
MATHEWS
Hey, you two!
They stop in mid-stride, then gingerly turn to face him.
MATHEWS (CONT'D)
Brace those doors open.
Trembling, Jack and Gayle manage to lower the door stops.
MATHEWS (CONT'D)
Now go over there and punch up an
elevator. And don't try anything or
I'll ice you right where you stand.
Mathews watches them as they move out of earshot.
INT. AREA IN FRONT OF ELEVATORS -- NIGHT
As they go, Jack MUTTERS desperately to a terrified Gayle.
JACK
Listen carefully...I have a plan.
INT. RECEPTION AREA OF BOWMAN'S OFFICE -- NIGHT
Mathews keeps his gun trained on them as they move to the
twin banks of three elevators per side.
He divides his attention between his hostages and Miss Kramer,
who has lifted her torso to an upright position, holding her
head in both hands, MOANING as she comes to her senses.
MATHEWS
Miss Kramer? Try to pay attention to
what I'm saying. I had an accident a
lot like yours today, so I know how
to fix you right up.
Go find some ice. Understand? Ice!
Make a pack with it, then put that
on your head and leave it there for
a half-hour. Okay? It'll fix you up.
Miss Kramer nods as if she understands, but it's not at all
clear that she does, or that she'll do as she's been told.
-----------------------------------------------------------------------------------------------------
87.
Mathews doesn't have more time to spare. He moves away from
her desk and starts moving toward the elevators.
INT. 23RD FLOOR ELEVATOR GROUP -- NIGHT
As Mathews approaches, Jack concentrates on punching one of
the six elevators' buttons in a precise sequence, while Gayle
rages at his side in a terrified, tension-laced WHISPER.
GAYLE
Are you out of your mind!
Without looking from what he's doing, Jack WHISPERS back.
JACK
It's our only chance!
GAYLE
But what if you're wrong?
JACK
We're dead anyway!
By then Mathews is close enough to notice their whispering.
MATHEWS
Hey! Pipe down! No talking.
Jack finishes, then ties his gutra tails snugly under his
chin while speaking to Gayle in a normal tone of voice.
JACK
Remember...I'm an expert.
Mathews is ten feet from them as the elevator doors open.
Jack stands facing the doors with Gayle at his left side.
MATHEWS
An expert at what?
JACK
Now!
Gayle quickly spins 180 degrees to her right so that she
faces Mathews for a split second as she steps over against
Jack's chest and wraps her arms tightly around his neck.
They both jump, face-to-face, Jack forward, Gayle backward,
between the just-opening elevator doors. Only there is no
elevator car in there! They've jumped off into OPEN SPACE.
Mathews is so startled by that outrageous and unexpected
move, he stands rooted for the first few critical seconds.
-----------------------------------------------------------------------------------------------------
88.
INT. IN THE ELEVATOR SHAFT -- NIGHT
Jack and Gayle's leap has carried them into the shaft far
enough for Jack to reach out and grab its yard-apart cables.
Using the folds of his galabeya to protect his hands, and
the soles of his shoes to brace against the cables as guiding
devices, he regulates their plummeting descent down 23 floors.
Their clothes billow and Gayle erupts in a long, unearthly
HOWL as they descend.
GAYLE
AAAAHHHHHHOOOOOOOOOOOOO!
Jack manages to monitor their progress all the way down.
When it is time to put on the brakes, he presses with his
feet and leans back hard with both hands.
Incredibly, they come to a stop just a few feet above the
stationary elevator car resting on the ground floor.
Jack eases them down those last few feet until they can drop
to the top of the car, coming to rest beside the standard
safety hatch cut into it.
INT. ELEVATOR SHAFT -- TOP OF ELEVATOR CAR -- NIGHT
In darkness, Jack and Gayle crouch on top, looking up.
THEIR POV upward reveals Mathews' back-lit silhouette leaning
out over the edge of the opening 23 floors above.
MATHEWS'S POV downward into the shaft reveals nothing but
darkness from about the tenth floor to the bottom.
ANGLE ON JACK AND GAYLE
Jack rips a pair of wires out of the top of the elevator
car, WHISPERING to Gayle as he does it.
JACK
Have to cut the light inside so he
can't see us....
Then he pulls the latch on the safety hatch and it opens. No
light comes up from it as he WHISPERS again to Gayle.
-----------------------------------------------------------------------------------------------------
89.
JACK (CONT'D)
C'mon!
INT. ELEVATOR CAR -- NIGHT
Jack smoothly lowers himself into the car, then reaches up
to help Gayle slide down into it.
He punches the "Open Door" button and the doors open, flooding
the car with light.
Suddenly, TWO SHOTS ring out as bullets rip through the open
safety hatch and SLAM into the elevator floor.
Jack and Gayle are already away and running across the lobby.
INT. WESTPARK PLAZA LOBBY -- NIGHT
Jack grabs Gayle's hand and hustles her out to where the
guard desk is. They look over toward it as they go and see
its occupants slumped over, heads resting on folded arms.
They continue their rush right to, through, and past the
building's front doors.
EXT. THE BLOCK IN FRONT OF THE WESTPARK PLAZA -- NIGHT
Jack and Gayle sprint down it and around the first corner,
then Jack forces both of them to slow down.
JACK
Stop running! We'll draw attention
to ourselves! Just walk fast until
we see a cab or a subway station....
They go into a stylized race walk pace, totally energized,
breathing heavily from exertion and excitement.
GAYLE
How did you know that would work?
JACK
Elevators have button codes to open
their doors in emergencies. I helped
install these, so I knew the codes.
GAYLE
How did you know the car would be
down at the bottom like that?
-----------------------------------------------------------------------------------------------------
90.
JACK
I didn't. But at this hour there was
a damn good chance it would be.
GAYLE
How did you know he wouldn't see us?
JACK
You can see up shafts fairly well,
but not down very far. We just had
to get lucky with the slide....
She stops to gaze at him in shocked disbelief.
GAYLE
Oh, my God! That slide was luck!
JACK
That's how elevator jockeys go down
sometimes...for kicks. But I'd never
done it carrying a passenger, so to
that extent...yeah...it was luck.
They exchange a silent look of understanding, then start up
with their fast walk again. A subway station is just ahead.
INT. BOWMAN'S OFFICE -- NIGHT
Bowman sits at his desk wrestling with paperwork generated
by the looming takeover. Mathews enters, clearly pissed off.
BOWMAN
That was quick. Something wrong?
MATHEWS
Crazy fools slid down the elevator
cables. Can you believe it?
BOWMAN
(rises from his chair)
They got away?
MATHEWS
Don't worry. They probably won't
stop running for days.
BOWMAN
(furious)
What then? What happens when they go
to the police with what they know?
Mathews sits down opposite Bowman as he calmly explains.
-----------------------------------------------------------------------------------------------------
91.
MATHEWS
Two hot murder suspects claim Cable
Rhinehardt got hit by a guy hired by
Rigger Bowman. Makes sense. Except
they also explain that the killer
was originally hired by old man
Rhinehardt to hit Bowman first!
See what I mean? They'll be too dumb
to tell anything but the truth, and
the truth makes them sound like a
couple of cheesy sleazeballs trying
to save their own skins by selling
poor Rigger Bowman down the river.
(sardonic)
A kid in law school could keep you
clear of that.
BOWMAN
You paint a nice picture...but what
if...say...they pass a polygraph?
MATHEWS
Ignored. See, from the cop point of
view, they have two highly publicized
suspects in hand. They won't be wild
about setting them free in exchange
for hunting down a phantom like me.
(chuckles)
Hell, those two saps will be lucky
if the cops don't decide to pin
Cable's murder on them, too!
BOWMAN
Okay...this isn't looking as bad as
I thought. Maybe you can still hit
Cable and keep me clear of it.
MATHEWS
I'm not saying you won't get splat-
tered by his blood, but in your line
of work that could be an advantage.
'Fuck with Rigger Bowman...maybe end
up like Cable Rhinhardt.' It'll cause
some puckering in your competition.
BOWMAN
(muses, smiles)
I'm sold. When will you do it?
-----------------------------------------------------------------------------------------------------
92.
MATHEWS
Tomorrow. After hitting you, I was
supposed to contact them at Stan's
beach house on Windemere Island.
Stan is a recent widower, so Cable
spends a lot of time with him there.
It seems the best place to start.
BOWMAN
What if Cable isn't there?
MATHEWS
I'm a pro. I know his club, I know
his mistress, I know where his boat
is. He can run, but he can't hide.
That assessment forces Bowman into a thoughtful pause.
BOWMAN
Do you know all that about me, too?
MATHEWS
Consider it privileged information.
Bowman realizes there is nothing he can do about it, so he
focuses on the business at hand.
BOWMAN
Wherever you find Cable, if Stan is
there, too, make sure he stays safe.
MATHEWS
(gives his faint smile)
If they croak together, the company
goes into probate and your takeover
dies with them. Right?
BOWMAN
Damn! You really are a pro!
MATHEWS
Yeah, which means I have a problem.
I need a portable microwave jammer.
(Bowman looks puzzled)
Knocks out cellphones....
BOWMAN
Oh, I see. If anyone is with Cable
when you kill him, you need to keep
them from reporting it until you can
make a clean getaway.
(Mathews nods)
What about regular phones?
-----------------------------------------------------------------------------------------------------
93.
MATHEWS
Cut the wires. Not a problem....
BOWMAN
Can you find a jammer at this hour?
Mathews arches an eyebrow, which Bowman quickly understands.
BOWMAN (CONT'D)
Right...you're a pro.
INT. NEW YORK SUBWAY TRAIN -- NIGHT
Jack and Gayle sit in a mostly empty car as it rumbles along
its track. Both have their shades back on, but their slumped
bodies illustrate the emotional wringer they've been through.
GAYLE
I don't know about you, but I've had
enough of trying to clear this up on
our own. I'm ready to go to the police
and let them handle it.
JACK
Great idea! We turn ourselves in as
murder suspects and get jailed without
bail because of the seriousness of
the charge. So what does Mathews do
when he finds out how smart we are?
GAYLE
I don't know...what?
JACK
He greases the right palms, then
you and me end up as pincushions
for icepicks and screwdrivers!
GAYLE
Why would he bother? Hasn't his
deal with Bowman been blown now
that we're free to warn Cable?
JACK
Oh, sure...they'd be crazy to kill
Cable now, with us free to tell the
police what we overheard. But that
doesn't mean Mathews won't get back
at us if we turn ourselves in. He
seems the kind to carry a grudge.
-----------------------------------------------------------------------------------------------------
94.
GAYLE
(angry)
Well, I don't plan to keep living on
the run like this! We have to find a
way to clean this mess up and get
that bastard off our backs!
Jack double-takes her profanity and anger, then responds.
JACK
This is the Rhinehardts' doing. I
think we should find them and dump
it all in their laps. They won't
want even a possibility of Mathews
gunning for Cable--now or in the
future--so they'll do whatever it
takes to secure his safety.
GAYLE
So you're saying we should ride in
on their coattails? That's what you
said about Bowman, and look where
that almost got us!
JACK
This will be different. It's just a
question of money, and the Rhinehardts
have enough of that for us, too....
EXT. JACK AND GAYLE'S HOTEL -- NIGHT
They stand across the street from the hotel, gazing through
its glass front doors. Three NYPD cruisers are parked out
front, and through the doors they can see Percy Heath, the
Englishman Jack talked with earlier.
ANGLE ON Heath, who is on his feet talking to a phalanx of
COPS surrounding him. The cops are nodding vigorously.
ANGLE ON Jack and Gayle, who look at each other like they've
both just lost their best friend. They deflate like balloons.
JACK
That old fart recognized me!
GAYLE
Looks like it. So what do we do now?
Abandon our room? Go someplace else?
JACK
This is a good disguise I'm wearing.
Let's try to take advantage of it.
-----------------------------------------------------------------------------------------------------
95.
GAYLE
Do you have a plan?
A smile splits his phony beard as he removes his shades.
INT. HOTEL LOBBY -- NIGHT
Minus shades, Jack and Gayle's entwined bodies push through
the hotel's entrance. Clinging tightly, necking passionately,
they are an outrageous display of bad taste, so much so that
EVERYONE in the lobby stops what they're doing to look.
They practically sizzle as they steadily make their way across
the lobby, exchanging kisses and facial caresses that combine
with the flaps of Jack's gutra to keep their faces obscured.
INT. THE LOBBY'S FRONT DESK - NIGHT
One of the POLICEMEN has been talking to the desk clerk Gayle
checked in with. The cop turns to the clerk and MUTTERS.
COP
Recognize those two?
CLERK
The woman, yes. Calls herself Mrs.
Rogers. Checked in without bags,
paid cash, said she was waiting for
her 'husband.' Riiiiight.
The cop stares as Jack and Gayle move past to the elevators.
COP
Is she a cheater...or a hooker?
CLERK
Cheater for sure...too nervous to be
a hooker...doesn't know the drill.
The cop has watched Jack and Gayle move to the elevator doors,
where Jack reaches out and fumbles to punch the button.
COP (O.S.)
Guy's a lucky stiff...pun intended.
Jack and Gayle have practically fallen into the open elevator
doors and closed them on their crowd of SPECTATORS.
-----------------------------------------------------------------------------------------------------
96.
INT. THE CLOSED ELEVATOR -- NIGHT
When the elevator's doors close and it starts to rise, Jack
and Gayle uncouple and step apart, as if not wanting to give
each other the impression their closeness was anything other
than a necassary arrangement. But here, too, they are acting.
Their breathing is HEAVY, coming in GULPS; they lick their
lips to wet their dry mouths; and neither knows what to do
with their hands as they try to pull back from the edge of
having sex right on the lobby floor, which is how it had
looked to everyone watching--and apparently how it felt.
JACK
Wow...you were great...super.
GAYLE
So were you...super.... And that was
some great plan you came up with.
JACK
Thanks.... I think it worked.
Jack glances up at the ascending numbers to see where they
are, then he looks back down at Gayle. She is looking at him
with pure animal lust in her eyes and face.
Seeing her expression, the same kind of lust transforms what
can be seen of his face. They leap into each other's arms
again, plastering themselves together even tighter than
before, kissing harder and with more passion.
They SNORT and HEAVE and go wild as Jack pushes her against
a wall and she lifts a leg to wrap it around his hip.
EXT. HALLWAY OUTSIDE ELEVATOR -- NIGHT
They emerge fully dishevelled. Her suit is a pulled-apart
mess, especially the blouse, while her beret now clings to
the side of her head. His gutra has slid to the back of his.
They try running to their room while not losing contact,
turning the trip into something like a sexual sack race (in
the most literal sense of the term) in which they have to
stay joined at the lips instead of leg-to-leg.
At the door they have to break a bit so Jack can dig out the
key to open it. As he does that, she keeps smothering his
neck with kisses, but she does manage to speak in between.
GAYLE
Is it...you know...safe?
-----------------------------------------------------------------------------------------------------
97.
JACK
I've only been with...my wife.
Nothing...for six...months....
GAYLE
I'm clean...I swear it.
The door opens and Jack sweeps her inside with a rush.
JACK
I believe you....!
INT. HOTEL ROOM -- LATE NIGHT
Beardless Jack and Gayle lie in bed under a cover, listening
as a NEWS ANNOUNCER on the television talks about them over
a series of filmed visuals relating to their case.
ANNOUNCER (V.O.)
Locally the hunt still goes on for
accused murderer and drug dealer
Jack Mathews, the Chicago architect
suspected of gruesomely killing an
associate with his bare hands.
(related visuals)
Police are leaving no stones unturned
in pursuit of Mathews and his alleged
money launderer, Gayle Strickland,
but both fugitives have proved to be
elusive. For more, we have a report
from Ann Snow at police headquarters.
EXT. POLICE HEADQUARTERS BUILDING -- NIGHT
ANN SNOW is a typical local TV journalist, young and serious.
She stands in front of the building to give her report.
ANN SNOW
Ron, the more police learn about the
backgrounds of Mr. Mathews and Ms.
Strickland, the less inclined they
are to consider them as drug dealers.
Also, friends of Mr. Mathews' insist
he doesn't have the physical strength
to break a man's spine by bending
him over the back of an airline seat.
A neck, maybe...but not a spine.
Briefly INTERCUT back to Ron at the main newsdesk.
-----------------------------------------------------------------------------------------------------
98.
RON
How do police explain the discrepancy?
MS. SNOW
They say a case of mistaken identity
could be at the bottom of the confu-
sion. But before they can be sure,
Mathews and Ms. Strickland have to
come forward to explain themselves.
Another brief INTERCUT with Ron at the main desk.
RON
If that's the case, why wouldn't
they have come forward already?
MS. SNOW
Right now the best guess is that the
fugitives are involved in other
illegal activities they can't afford
to admit to, or discuss in public.
CUT BACK to Ron, who gazes steadily at the camera.
RON
Thanks, Ann. More news in a moment.
The screen CUTS to a commercial and Jack clicks it off with
the remote button on his night table. Then he looks at Gayle.
JACK
Well, what do you think?
GAYLE
Maybe we should take them up on it.
JACK
(shakes his head)
I still see icepicks and screwdrivers.
I say we continue as planned.
She falls silent, considering, then looks at him with concern.
GAYLE
I think we could arrange to be pro-
tected in exchange for giving up.
JACK
Listen, Gayle, I don't want to give
up. I want to see this through to
its end, whatever that end may be.
GAYLE
Why? What we're doing is dangerous!
-----------------------------------------------------------------------------------------------------
99.
JACK
Alice used to call me a boy pretending
to be grown-up...and doing a bad job
of it. The truth is...she was right.
(a bit guilty)
I never played sports...never went
in the military...never did the kinds
of things that turn boys into...men.
(chokes up a bit)
Anyway...today I did some of those
things...and though I was scared to
death while it was happening...now
I feel great...like I've been born
again...like I'm a real, true man.
Gayle gazes at him long and hard, wrestling with an internal
demon of her own. Then she clears her throat and proceeds.
GAYLE
Maybe it's just as well. I heard
something in Bowman's office tonight
that might be a way for the Rhine-
hardts to save their company.
JACK
You're kidding? Really? What?
She lifts her cellphone lying on the table beside the bed.
GAYLE
I'll tell you the details after you
set up a meeting with them.
JACK
(takes the phone)
Should I mention you have a plan?
GAYLE
Say we have two matters to discuss:
Saving Cable's life, and saving their
company. That'll get their attention.
JACK
(dials 411)
Hello, information?
EXT. FRONT OF THE HOTEL -- NEXT MORNING
Jack is back in his Arab costume and Gayle looks as she did,
with her big shades and the beret tugged down to her ears.
They exit the front door and approach a waiting SEDAN. A
YOUNG MAN stands beside the car, holding keys in his hand.
-----------------------------------------------------------------------------------------------------
100.
YOUNG MAN
Compliments of the Rhinehardts.
A map to the house is inside.
Gayle takes the keys and moves to the driver's side.
GAYLE
Thank you. We can take it from here.
Jack and Gayle get in as the young man says one more thing.
YOUNG MAN
Mr. Cable said to tell you that for
all this trouble, whatever you have
to say had better be damned good.
GAYLE
(grimly)
It will be....
EXT. A MONTAGE -- MORNING
The sedan makes its way out of New York.
It approaches a FERRY ramp.
As the ferry crosses to Windemere Island, Gayle stands alone
at the railing watching seagulls cavort as OTHER PASSENGERS
toss pieces of bread at them.
Jack approaches her dressed in his suit, with the Yankees
cap and the sunglasses back on. He carries the wadded-up
thobe and gutra, which he tosses into the car.
He snuggles up behind her and takes her in his arms. They
stand at the railing looking like any couple newly in love.
The sedan rolls off the ferry into a normal beach community.
The island has the usual contingent of houses built on stilts
and set among rolling dunes that extend off to where the
island itself extends, to the horizon.
EXT. ISOLATED BEACH ROAD -- MORNING
The sedan moves along a thin strip of asphalt running between
low, sprig-covered sand dunes. Occasional dwellings pass on
either side, but there are far more dunes than dwellings.
-----------------------------------------------------------------------------------------------------
101.
EXT. A TURN-OFF FROM THE BEACH ROAD -- MORNING
The sedan reaches the turn-off and takes it, which leads a
short distance to a large, weathered beach home. In front of
it are parked an old Jeep Waggoneer and a new Jaguar sedan.
The beach starts at 50 yards behind the rear of the house.
A folded Catamaran is pulled up onto the sand several yards
away from the water, and beside it is a Jet-Ski on a trailer.
EXT. THE PARKING AREA IN FRONT OF THE HOUSE -- MORNING
The sedan stops beside the other vehicles. Jack and Gayle
sit inside it, surveying the scene spread before them.
The house's front door faces a cluster of dunes at their
backs, on the other side of the main road, 200 yards away.
On either side of the house stretches open, grassy dunes.
EXT. CLOSER VIEW ON THE PARKING AREA -- MORNING
As Jack and Gayle get out of the car, the house's front door
opens. Rhinehardt and Cable move out to greet them. Rhinehardt
looks stern but correct, while Cable holds a pistol on them.
RHINEHARDT
Please excuse the gun, but since we
agreed to meet you alone like this,
in such isolation, we think it's
best to err on the side of caution.
JACK
(agreeably)
We understand. Just make sure he
doesn't get excited, okay?
CABLE
You make sure I don't get excited...
which you do by her delivering on
what she said about having a way for
us to save our company. You got it?
RHINEHARDT
Come, come...let's go inside.
Jack allows Gayle to move ahead of him. As she goes, Cable
steps beside Jack to frisk him, MUTTERING threateningly:
CABLE
Did you get my message, asshole?
-----------------------------------------------------------------------------------------------------
102.
Jack looks Cable right in the eyes, then calmly replies.
JACK
Loud and clear, shithead.
Cable lifts the pistol as if to strike Jack with it, and
Jack drops into a defensive crouch.
Meanwhile, Rhinehardt and Gayle have reached the front door,
and he looks back at them.
RHINEHARDT
Please, gentlemen! This is not the
time or place for childish nonsense.
Behave yourselves!
Glaring at each other like fighters who won't be intimidated,
both men drop their threatening postures and move inside.
INT. THE BEACH HOUSE -- MORNING
It is very well-appointed. The furniture consists of large,
overstuffed couches and armchairs. There is a terrific view
of the ocean beyond the living room's huge picture windows.
Shades and caps off, Jack and Gayle sit together on the couch,
while Rhinehardt and Cable sit in chairs opposite. Jack and
Gayle hold hands as Jack finishes his explanation.
JACK
So we think that because we got away
with knowledge of the plan, Cable
can't be safely eliminated.
Rhinehardt and Cable are both in a mild state of shock. Then
Rhinehardt shakes off his angst to gaze pitiably at Cable.
RHINEHARDT
He who lives by the sword....
CABLE
Dammit, somebody had to take Bowman
out, and you wouldn't let me!
RHINEHARDT
I can't tell you how I regret letting
you talk me into hiring that terrible
man. It's the worst business decision
I've ever made.
Cable rises from his chair, ranting and waving his pistol.
-----------------------------------------------------------------------------------------------------
103.
CABLE
Oh, sure! That's easy for you to
say! You had your day in the sun!
You had a chance to show what you
could do! But all I've been able to
do is bide my time and wait!
(furious)
Well, my time is now, and I won't
let you or Bowman or Mathews or
anyone else cheat me out of it!
At that he wheels around to Gayle and points the gun at her.
CABLE (CONT'D)
All right, lady--time to tell us
how we can save the company.
The strained relationship of father and son is never more
clear. Rhinehardt looks sorely embarrassed as Gayle begins.
GAYLE
It will take plenty of money raised
in a hurry, but if you go flat-out
over the weekend, you might be able
to put it together by Monday morning.
RHINEHARDT
Excuse me if I find it difficult to
believe you've discovered something
the best financial minds on Wall
Street couldn't manage.
GAYLE
I got an inside tip last night when
we were at Bowman's office. I heard
his secretary take a call from Ron
Harwell, CEO of Regency Electronics.
(pauses for effect)
Do either of those names ring a bell?
They look at each other, then shake their heads.
GAYLE (CONT'D)
Regency is a new, hot, up-and-coming
virtual reality firm in Omaha. Their
product is great, a big quantum leap
ahead of their competition. Problem.
They're too good. They need to expand,
but it can't be the usual half-fold
or single-fold expansion. They need
to go to a triple or above. Bad news.
-----------------------------------------------------------------------------------------------------
104.
CABLE
(to Jack)
How does she know all that?
JACK
(proudly)
She's a securities analyst on Wall
Street. She knows her stuff.
Gayle pats his hand for that compliment, then resumes.
GAYLE
Anyway, because Regency is an up-and-
comer on a very fast track, it could
be that Harwell, the founder and
sole owner, has gotten overextended.
If he has, he'll know Bowman finances
takeovers with bond sales using sole-
owner, physical plant companies like
Regency as collateral for the bonds.
People like Harwell give Bowman
temporary title to their charter,
and he reciprocates with a hefty
cash payoff after the takeover is
executed and complete.
CABLE
So?
GAYLE
So all you have to do is double or
quadruple or whatever it takes to
supercede what Bowman is offering
Harwell to be part of the takeover.
It'll be like pulling out one of the
bottom cards in a house of cards.
RHINEHARDT
But what's to stop him from doing
the same kind of thing next week or
next month or the next time he can
rebuild his house of cards?
Jack has been grinning smugly throughout her explanation,
but he can't help jumping in to answer that one.
JACK
This is the best part! Bowman won't
know how you found out about Harwell,
so all he can conclude is that you're
somehow wired into his organization!
-----------------------------------------------------------------------------------------------------
105.
Rhinehardt finally understands and jumps up out of his chair.
RHINEHARDT
And if we have a spy in his camp, we
could do the same thing to him any
time he tries to come after us!
CABLE
Okay, but what if some other raider
decides to take a run at us?
GAYLE
The same thing applies. What you did
to Bowman, you may be able to do to
anyone. Why would they take a chance?
RHINEHARDT
We're invulnerable!
Cable quickly puts a damper on his father's enthusiasm.
CABLE
Hold on, Dad! Who's to say these two
aren't spies in our camp, sent by
Bowman to screw us up?
Jack and Gayle look at each other, genuinely confused.
JACK
Screw you up how? We just told you
how to beat his brains out!
RHINEHARDT
I think a more diplomatic way of
voicing Cable's concern might be
....what's in it for you two?
Jack and Gayle look at each other again, then Jack shrugs.
JACK
It's a personal thing with me ...
something I just felt I had to do.
But I might be needing a job soon.
RHINEHARDT
If your plan works, you'll never
need to worry about employment again.
(to Gayle)
And how about you, young lady?
Anything on your wish list?
GAYLE
(sourly at Cable)
Could he put that gun away?
-----------------------------------------------------------------------------------------------------
106.
At a glance from his father Cable reluctantly puts it down.
RHINEHARDT
The same goes for you. If your plan
works, anything in reason is yours.
GAYLE
Thanks. After all this mess, I might
be needing a job, too.
EXT. THE BEACH HOUSE -- DAY
Rhinehardt steps out the front door, followed by Jack, Gayle,
and Cable bringing up the rear. They keep close together as
they move the 20 yards to where Jack and Gayle's rental car
is parked near Cable's Wagoneer and Rhinehardt's Jaguar.
Because Gayle has been driving, she starts around the front
of the sedan while Jack steps away from Cable to move to the
passenger side. All four are on the house side of the three
vehicles, away from the road, when they finally separate.
At that instant a gaping red hole is BLOWN into the middle
of Cable's chest. He's slammed backward onto the driveway as
the SOUND of the shot that killed him fights its way through
the in-shore ocean breeze. He thrashes before falling still.
All three witnesses are paralyzed for a moment, in utter
shock, then Jack regains the presence of mind to grab Gayle
and pull her down to the driveway with him.
Another bullet WHISTLES above their heads and the car top as
they drop, slamming into the Catamaran tethered well beyond.
Once Jack realizes he and Gayle are safe, he looks around to
locate Rhinehardt. The white-haired man is crouched over his
son's lifeless body, venting his anguish as any father would.
RHINEHARDT
Oh, God, no! Noooooo!
JACK
Rhinehardt! Get over here! It's
Mathews! He'll get you, too!
Rhinehardt ignores that plea, so Jack pushes Gayle over
against the side of the rental car, out of the line of fire,
and then scuttles in a low crouch to Rhinehardt's position.
Rhinehardt struggles with him, trying to stay with his son,
but he's old and slight and Jack is able to overpower him.
-----------------------------------------------------------------------------------------------------
107.
When they get back against the car, beside Gayle, all three
are GASPING and Gayle is dialing her cellphone. She listens,
shakes it, and tries to dial it again.
GAYLE
It's dead! It won't work!
Jack pulls his from his jacket and tries to dial it.
JACK
Mine, too! He's jammed them!
GAYLE
How did he follow us?
JACK
I don't know...it doesn't matter.
(to Rhinehardt)
He wouldn't have killed Cable if he
didn't intend to get us all--how can
we get away from here?
Rhinehardt tears his gaze away from his fallen son to look
at Jack with fear and consternation.
RHINEHARDT
But...why? We called it off!
JACK
We underestimated him! Now con-
centrate! How do we get away?
GAYLE
What about that gun Cable had?
Jack assays the distance and angle to the front door. It's
20 yards of clear shot for Mathews; a death zone for them.
JACK
We'd never make it...no chance.
(to Rhinehardt)
Is there a back door?
Rhinehardt gathers himself enough to nod 'yes'.
RHINEHARDT
But we keep it locked from inside.
JACK
Shit!
(pause)
I wonder if he's still out there?
-----------------------------------------------------------------------------------------------------
108.
Gayle takes off one of her shoes and lifts its toe up just
above the line of the car's trunk. A bullet promptly rips it
from her hand. All three flinch as the SOUND reaches them.
JACK (CONT'D)
We're trapped. All he has to is sit
out there and wait for us to get
crazy enough to make a break.
Gayle focuses on the jet-ski trailered beside the Catamaran.
GAYLE
What about that? Can you use it? I
mean, do you know how?
JACK
I'm a grown-up kid, remember?
(to Rhinehardt)
Does it work?
RHINEHARDT
(nods, still in shock)
Cable loved it....
GAYLE
Look where it's parked. He may not
be able to see it from where he is.
Jack checks their angle and realizes she's right. The cars
are lined up in such a way that each protects a narrow line
of sight all the way to the rear edge of the cabin.
From there it's fifty yards to the water, and depending on
the angle, height, and distance of Mathews's position, they
might be invisible to his view until they got well away.
JACK
Great! I say we go for it. Okay?
RHINEHARDT
(shakes his head)
It's small...only seats one. Cable
preferred that because it was more
manueverable than the big ones.
Jack removes his jacket and transfers his cellphone to a
pants pocket as he speaks.
JACK
Okay, I'll go get out of range of
the jammer, then call for help.
They exchange a disheartened look. Jack gets angry.
-----------------------------------------------------------------------------------------------------
109.
JACK (CONT'D)
Okay...one of you go and I'll stay.
GAYLE
No, Jack, you go. You'd have the
best chance of making it.
RHINEHARDT
She's right, son...you go. And head
south. Three miles down the coast is
an old whale rendering factory.
JACK
What's a whale rendering factory?
RHINEHARDT
Where whales were processed into
meats and oils thirty years ago.
You'll know it when you see it.
If you make it that far, put in
and go down the road another half
mile. You'll find a general store.
Jack nods at him, then gives Gayle a hug and a kiss.
She pulls away to give him a forced, teary-eyed smile.
GAYLE
Another fine mess you've gotten me
into....
JACK
Jesus, I'm sorry...so sorry.
GAYLE
Don't be...I wanted an adventure.
JACK
(to Rhinehardt)
Is the key in it?
RHINEHARDT
(shakes his head)
On a nail by the back door.
With that Jack reaches out to shake Rhinehardt's hand, gives
Gayle a last quick hug and kiss, then he drops down onto his
belly and starts slithering away across the sand.
-----------------------------------------------------------------------------------------------------
110.
EXT. MATHEWS' POSITION IN THE DUNES -- DAY
He is down behind a sand dune, dressed in casual clothes,
lying on a plastic tarp, gazing through the scope mounted on
his high-powered rifle. He's 200 yards away from his targets.
HIS POV through the cross-haired scope reveals a brief, blurry
glimpse of Jack slithering around the corner of the house.
MATHEWS (O.S.)
Sonofabitch!
He scrambles up off the tarp, lifts it, and wads it up while
hustling it and the rifle over to a rented jeep parked nearby.
Open on its hood is the French horn case, and beside it is a
metal box with a small rotating antenna--the JAMMER.
He tosses the tarp, the rifle, and the horn case into the
rear of the jeep, pulls his pistol from his jacket, loads a
clip into it, puts it back in its holster, grabs the jammer,
jumps in the jeep, puts the jammer on the dashboard, starts
the engine, then drives away in a sand-spraying donut.
EXT. THE WATERLINE BEHIND THE HOUSE -- DAY
Jack is indeed below Mathews' line of sight as he shoves the
jet-ski trailer into the water. But as soon as he rides out
and away from the house, he will be in view once again.
He unhitches the jet-ski, sliding it off into the waist-deep
water as gentle waves roll in. He puts the cellphone in his
teeth, wades out to the jet-ski, turns its key, and presses
the starter. Its motor immediately COUGHS to life.
He REVS the throttle, kicks it in gear, then slides down in
the water beside it so it can drag him along like a cowboy
or Indian rolled over onto the off side of a horse's belly.
EXT. GAYLE AND RHINEHARDT BEHIND THE CAR -- DAY
As Jack motors away to safety, Gayle and Rhinehardt lean
back against the side of the car to await their fate. Both
stare disconsolately at Cable's body lying 15 feet away.
RHINEHARDT
I always worried he'd end up like
this. He wasn't very likeable.
Gayle reaches out to take one of his hands in hers.
-----------------------------------------------------------------------------------------------------
111.
GAYLE
Still, it's a terrible thing.
RHINEHARDT
Now that it's happened.... Well,
maybe it's for the best. Sooner
or later he would have ruined the
company. No real business sense.
(looks at her)
He should have been like you.
Their eyes meet and his fill with a glimpse of what might
have been if Fate had dealt him a different hand in life.
Suddenly a large, foreboding SHADOW falls across both of
them. They cringe toward each other as Mathews' left arm
plunges INTO VIEW to grab a handful of Gayle's hair.
She SCREAMS as he yanks her to her feet, with Rhinehardt
feebly attempting to follow her up and ward Mathews off her.
Mathews just pushes him back down.
MATHEWS
Where's the architect going?
GAYLE
I don't know! He left us!
Mathews jerks her head back and forth to create maximum pain.
MATHEWS
Don't fuck with me, bitch! I'm not
in the mood!
Tears spring into her eyes as she shouts back at him.
GAYLE
He didn't say! He just ran away!
Mathews sees that tack won't work and tries another one.
MATHEWS
Listen, my contract is for him and
Cable. You two can live if you tell
me where he's heading.
GAYLE
Sure! Tell us another, slimeball!
Mathews grits his teeth and jams the pistol barrel against
her right temple. When he does that, Rhinehardt speaks up.
RHINEHARDT
Don't kill her! I'll tell you....
-----------------------------------------------------------------------------------------------------
112.
GAYLE
No! Don't! He's lying!
Mathews focuses on Rhinehardt without releasing Gayle.
MATHEWS
Bowman needs you alive to keep the
takeover workable. Besides, you're
no threat to testify against him...
this whole thing started with you.
That makes painful, embarrassing sense to Rhinehardt.
MATHEWS (CONT'D)
I will leave you alive...so now the
question is, do I leave her alive?
GAYLE
Don't trust him, Stan! Please!
Rhinehardt debates between the two, then reluctantly decides.
RHINEHARDT
I'm sorry, Gayle...I can't risk seeing
you die, too.
(to Mathews)
He's going to the old whale rendering
factory, three miles south.
Mathews flashes his faint smile, which changes to a grimace
as he reaches down and swats his pistol across the side of
Rhinehardt's head, crumbling him into a heap like Cable.
Seeing that, Gayle tries to bend down to help him, shouting
at Mathews as she struggles to free her hair from his grip.
GAYLE
You liar! You said you wouldn't hurt
him!
MATHEWS
I said I wouldn't kill him. But I
did lie about you. Now, turn around
and take your jacket off.
She hesitates, so he swats her head with the gun, enough to
stun her and to make her realize he means business.
MATHEWS (CONT'D)
Do what I say!
Gayle turns and he stuffs his pistol back in its shoulder
holster. She removes her jacket and drops it near Rhinehardt,
sprawled and unconscious on the ground.
-----------------------------------------------------------------------------------------------------
113.
When her jacket is off, Mathews reaches to her left shoulder,
grips her blouse with both hands, then rips it loose at the
shoulder seam and strips it completely off her arm.
He then reaches over to her right shoulder and does the same
thing, yanking that sleeve off, too. He hurriedly pulls her
hands behind her back and uses one of the sleeves to tie her
hands as she regains enough of her senses to yammer at him.
GAYLE
You bastard! You lousy, rotten--!
Mathews slaps the side of her head to shut her up, then ties
two quick knots in the middle of the other sleeve. He stuffs
that large knot into her mouth and ties the remainder behind
her head in a solid gag that leaves her thoroughly MUFFLED.
Finished with her, he tracks the phone line down to where it
attaches against the house. He shoots that and the line hangs
free. Then he reaches down to Rhinehardt's pants pockets and
finds his cell phone. He removes it and tosses it far away.
Finished with all that, which has taken very little time, he
again grabs Gayle by the hair and marches her toward his
jeep. To comply, she has to kick off her remaining shoe.
EXT. JACK MOVING ON THE WATER -- DAY
Soaked Jack stops the jet-ski and removes his cellphone from
his shirt pocket. He dials three numbers--911--then listens.
He grits his teeth in anger...still in range of the jammer.
In doing that, he realizes his beard is flapping loose at
the sideburns. He pulls the entire beard off, then starts
the jet-ski moving forward again.
EXT. BACK AT THE BEACH HOUSE -- DAY
Rhinehardt is coming to, lying on the ground, fighting through
his mental haze. He sees Gayle's jacket, lying near his head.
Under one of its folds protrudes a part of her cellphone. He
reaches out, picks it up, and dials 911. He listens briefly.
RHINEHARDT
I want...to report...an emergency....
EXT. JACK NEARING THE WHALE RENDERING PLANT -- DAY
At the jet-ski's top speed, Jack approaches the plant.
-----------------------------------------------------------------------------------------------------
114.
It is a large, corrugated metal warehouse-type building,
half of which is built on high pilings that extend out over
the water, and the other half of which rests on the shore.
The plant is constructed something like an airplane hangar,
with a high, wide opening where the whales would be drug in
and laid out for processing.
High overhead are many crossbeams to which are attached long,
pulley-levered chains with huge hooks on the ends for dragging
the carcasses up out of the water and then inside.
Lying scattered around inside, or propped against vertical
beams supporting the overheads, are 20-foot-long trimming
poles, which have rusty 2-foot blades attached.
At the base of each blade is a scythe-like gutting hook,
creating something that looks like half of a fleur-de-lis.
Each 20-foot-long pole is as thick as a man's wrist.
EXT. PLANT DOCK -- DAY
Jack roars the jet ski up the gently sloped dock ramp that
extends well down into the water.
In rapid motion he kills its engine and lays it down, then
runs into the rusty old building's huge, gaping maw.
INT. RENDERING PLANT -- DAY
He gets about 20 yards inside the cavernous structure when
the harsh VOICE of Mathews reverberates throughout.
MATHEWS (O.S.)
Hold it right there, asswipe!
Soaked and dishevelled, Jack practically skids to a stop
trying to gauge where the voice came from. But the echoing
effect in the huge building makes that all but impossible.
MATHEWS (O.S.) (CONT'D)
That's it...right there. Don't move
from that spot.
Jack has come to rest in the middle of a set of two 10-by-10
foot squares cut into the metal floor. These are a pair of
"wash doors," trapdoor-like openings on which would be piled
the unused parts of whales being rendered down to their bones.
-----------------------------------------------------------------------------------------------------
115.
After a whale's skeleton had been carted away, the wash doors
would be opened and its entrails and such dropped into the
ocean below as carrion for the sea's predators and scavengers.
As Jack stands PANTING and looking around inside the building,
a CREAKING, CRACKING SOUND comes from below his feet. Rusted-
out hinges at the edges of the wash doors are giving way,
but Jack is too absorbed with his other problems to notice.
Suddenly Mathews steps out of a deep shadow cast against the
far wall. He has Gayle in tow by her hair, her mouth gagged,
hands tied behind her back, eyes wide with fearful terror.
Mathews holds his pistol aimed at Jack, grinning, as Jack
starts to make a move toward them. Mathews' grin turns to a
scowl as he shifts the pistol barrel against Gayle's temple.
MATHEWS (CONT'D)
Not a step...not one fucking step.
Jack resumes his position centered over the creaking wash
doors as Mathews tightens his grip on Gayle's hair and moves
her forward, away from the back wall.
MATHEWS (CONT'D)
You two have really made this inter-
esting for me...made it a challenge.
I like that. I hate to see it end.
JACK
It's me you want. Why not let her
go? She won't say anything.
MATHEWS
Don't worry, I won't be killing her
right away. We have some 'personal'
business to take care of first...
(puckers at her)
...don't we, sugar?
Gayle struggles and gives out a MUFFLED SCREAM, followed
immediately by the CREAKING wash doors giving way so that
Jack drops from sight into the ocean below the pilings.
Mathews stands thirty yards away, blinking as if he just
witnessed a magician's disappearing act. Without thinking,
he releases Gayle to run forward to the edge of the huge
hole, straining to find Jack in the water below. No luck.
He looks back over to where Gayle had been, but she has
slipped away on silent, bare feet to hide herself behind
piled equipment in the deep shadows against the rear wall.
MATHEWS (CONT'D)
Sonofabitch!
-----------------------------------------------------------------------------------------------------
116.
He stalks to the 100-foot-wide rear wall and begins searching
every nook and cranny of the junk piled up along it. With so
much area to cover, even moving rapidly requires time.
Soon, though, he reaches the far corner and steps around a
large winch to find Gayle crouched in a cowering ball.
Scowling, he reaches down, grabs her hair again, and yanks
her to her feet.
She emits MUFFLED SCREAMS from behind the gag, which gives
him an idea. He unties the gag and pulls out the part stuck
in her mouth, which allows her to SHOUT to Jack.
GAYLE
I'm okay, Jack! Get away! Run!
At that Mathews slaps her to shut her up, then he yanks her
bound arms to move her back to the center of the building.
MATHEWS
(shouting)
Hear that, architect? Your lady thinks
you're a coward! Thinks you'll creep
away and leave her to die by herself!
That the kind of man you are? Is it?
Suddenly a RATTLING SOUND comes at Mathews's back. He whirls
around to meet it, pistol in hand, eyes fixed at head height.
It's Jack, swinging down from above, clinging to one of the
grappling chains attached to the ceiling beams which cross
over the rendering area below.
At the last second Mathews looks up, sees him and fires, but
with no chance to aim, he misses.
Jack's extended feet SLAM into Mathews's chest and send him
sprawling on his back, sliding along the floor toward the
gaping hole Jack fell through minutes earlier.
Jack's momentum is stopped by his impact against Mathews, so
he drops off the chain beside Gayle. He gives her a grateful,
dripping-wet hug as they both watch Mathews slide along.
Mathews rolls over onto his stomach, dropping his pistol so
he can use both hands to try to stop his slide into the hole.
Despite his efforts, he and his gun disappear over the edge.
GAYLE
Thank God!
JACK
And Allah, too! Now turn around!
-----------------------------------------------------------------------------------------------------
117.
Jack grabs one of the propped-up trimming poles to use its
unweildly blade to cut the sleeve binding her wrists. When
her hands are free, he lays it back down.
EXT. DOWN IN THE HOLE MADE BY THE OPEN WASH DOORS -- DAY
Mathews didn't plummet with his gun to the water below the
hole. By releasing it he was able to use both hands to grab
the upper flange of the vertical door, where he now dangles.
INT. JACK AND GAYLE ON THE FLOOR OF THE PLANT -- DAY
Now that they can hug each other freely, they do just that.
INTERCUT with Mathews pulling himself back up onto the floor.
Still embraced, Jack and Gayle don't notice Mathews' progress
in the BACKGROUND. By the time she happens to glance at him,
it's nearly too late.
GAYLE
Jack! Watch out!
Mathews is back up on his feet and barrelling right at his
twin prey, an enraged bull rushing two novice matadors.
Jack reacts instinctively as the bull comes thundering toward
them: he picks the trimming pole back up and uses the blade
at its tip to swipe at his attacker in a diagonal line.
Mathews is slashed across the chest by the blade, while one
of his thighs is hooked and torn by the gutting barb.
As with a bull, those injuries serve to enrage him even more.
But not to where he is foolish enough to attack unarmed again.
He grabs another trimming pole propped against a brace-beam,
arming himself equal to Jack. Grimfaced, limping and bleeding,
holding the long pole in front like a lance, he starts stalk-
ing Jack, who holds his pole the same way as he backpedals.
JACK
Get away, Gayle! Get away!
MATHEWS
Don't bother, bitch! There's no place
you can hide that I won't find! And
if you make me chase you, I'll make
you suffer more when I catch you!
-----------------------------------------------------------------------------------------------------
118.
Jack backs up and backs up, heading straight toward the hole
in the floor. Suddenly Gayle shouts from over to one side.
GAYLE
Jack! The hole is right behind you!
Jack stays focused on Mathews as he shouts back at Gayle.
JACK
I told you to get away! I mean it!
Get away!
GAYLE
I'm not leaving! I can help!
She begins scrambling for a trimming pole of her own.
Meanwhile, Jack starts trying to circle away from the hole
in the floor, but Mathews moves sideways to head him off.
They are close enough now to touch blades, Mathews poking
and pushing and trying to get a feel for his unaccustomed
weapon, while Jack merely reacts by trying to fend him off.
Seeing there is no way to avoid a final confrontation, Jack
digs in his heels and tries a direct thrust.
Mathews deftly leans aside, counter-thrusting his own blade
to slash Jack across the abdomen. That rocks Jack back and
puts more fear in his eyes.
Mathews grins and resumes his stalking, thrusting his blade
like an aggressive prizefighter against a dazed opponent.
It looks bad for Jack when suddenly a blade slashes across
Mathews's back, causing him to SHOUT in surprise and pain.
Gayle has secured her own trimming pole and has used it.
JACK
Dammit, Gayle! Get out of here!
GAYLE
No! I can help! We can get him!
Mathews has quickly recovered and put himself in a position
to keep watch on both opponents. But now he has the glint of
fear in his eyes as Jack revives and Gayle presses forward.
GAYLE (CONT'D)
Come on, Jack! Let's get him!
They slash from opposite sides, forcing Mathews to fend off
their blows by holding his pole in the center, like a pugil
stick. He manages to keep them from scoring any serious hits.
-----------------------------------------------------------------------------------------------------
119.
With his pole's blade pointed to his right, toward Jack,
Mathews suddenly dives to the floor in that direction, lashing
out with his blade as he dives.
Its hook grabs the crook of Jack's left knee, yanking his
leg out from under him as he SHOUTS with pain.
Mathews executes a twisting roll and is back on his feet
near enough to Jack to pull his blade back and lift it for
a killing thrust at his downed opponent's midsection.
Gayle has seen it all and has rushed forward to try to help
Jack. She swings her blade at Mathews' head, which he senses
and lifts his left arm to protect himself.
Her blade's hook catches the crook of his elbow, tearing
into it the way the back of Jack's knee has been sliced.
Mathews is forced to turn his attention completely to her,
as Jack lies writhing on the floor, holding his knee.
Despite a now useless left arm, Mathews confronts Gayle one-
on-one, cradling his pole under his right arm like a knight's
lance, stalking her as she retreats, wide-eyed and fearful,
knowing she can't win against someone so physically superior.
He stalks and she retreats until she backs into one of the
side walls and there is no place else to go. Mathews knows
he has her and grins evilly as he prepares to skewer her.
She gives a thrust that he flicks aside, which causes her
to drop her pole. As Mathews prepares to deliver the coup-
de-gras to her, a hook lashes around his neck from behind,
yanking him down onto his back on the floor.
He drops his pole and reaches his right hand up to try to
deal with the weapon around his neck, but even his good hand
isn't much use to him now. The hook is set deep and hard.
Jack is on the other end of the pole that's in his neck,
down on the floor where he's crawled on his bleeding knee
to sneak up behind Mathews and take one last swipe at him.
He pulls Mathews back along the floor as Mathews struggles
and fights. It's like an exhausted fisherman trying to land
a game but doomed fish.
Suddenly, Mathews unhooks the curved part of the blade from
his neck and rolls over to confront Jack. He staggers up to
his feet, putting himself at a huge advantage over Jack.
Jack is so spent, he can't hold onto his pole when Mathews
yanks it from him. And though Mathews' throat is badly cut,
he's not disabled, so he can turn the pole around, lift it
up like a giant spear, and aim its blade down at Jack.
-----------------------------------------------------------------------------------------------------
120.
Just as he's about to thrust forward for the kill, another,
different blade point ERUPTS through his chest.
Gayle has regained her own lost pole and driven it into the
middle of Mathews' back, skewering him like a marshmallow.
Mathews looks as shocked as any man ever has, then he falls
forward onto his side, the pole sticking out of his back
like a hatpin through a voodoo doll.
He COUGHS twice, then lays still, wide-eyed and very dead.
Meanwhile, Gayle has rushed over to Jack and taken him into
her arms, crying and sobbing and trying to cover his wounds.
As he tries to say something in return, his eyes roll up in
his head and he passes out. She WAILS in anguish as in the
BACKGROUND police SIRENS begin to become AUDIBLE.
GAYLE (CONT'D)
No! Don't die! Please don't die! I
love you! I do! I love you!
He is clearly beyond hearing at that point. She is left
clinging to his sprawled, blood-smeared body while sobbing
her heart out as the SIRENS intensify and the SCENE FADES.
INT. A COMEDY CLUB -- NIGHT
VOICES are FAINTLY HEARD over the DARK SCREEN. The CAMERA is
OUT OF FOCUS, VERY TIGHT on drink glasses on a table. SLOWLY
the drinks come IN FOCUS as the soundtrack COMES UP.
The VOICES become clear as CHATTERING heard in clubs prior
to a show. Hands reach for and lift the drinks as APPLAUSE
ERUPTS and a MASTER OF CEREMONIES speaks OFF-SCREEN.
M.C. (O.S.)
(energetic)
Thank you, ladies and gentlemen,
thank you. My name is Don Givens,
and I'm your host tonight for the
grand opening of 'Serious Business.'
The CAMERA MOVES BACK to reveal the people sitting at the
table. It is Gayle, looking smashing in a low-cut dress and
with frosted, permed hair. Jack's friend Harley Cobb is there.
Harley's wife MARSHA is there, too, with her father (Jack's
old boss) Harold Cavanaugh. And as the M.C. continues, someone
appears to take the table's final seat: Stanley Rhinehardt.
-----------------------------------------------------------------------------------------------------
121.
M.C. (O.S.) (CONT'D)
This new comedy club is the brain-
child--and hopefully not the brain-
dead brainchild--of a man I'd like
to introduce to you now....
(more applause)
He's a new comedian I think you'll
be getting a huge kick out of...in
fact, I think you're gonna love him.
As Rhinehardt takes his seat he leans over to Gayle to give
her a cheek-kiss greeting while apologizing for being late.
As he speaks, the M.C. keeps speaking in the BACKGROUND.
M.C. (O.S.) (CONT'D)
(lowers voice)
But on the off-chance you don't even
like the guy, please...laugh like
hell anyway or he might close the
place down and I'll be out of a job!
RHINEHARDT
Sorry I'm late. This genius woman
here has made our stock one of the
hottest in the market. I couldn't
get away! We closed up 10 points!
GAYLE
Don't give me all the credit! It's
been a team effort all the way!
RHINEHARDT
Yes, but you've been the quarterback!
Rhinehardt shakes hands around the table as the M.C. closes.
M.C. (O.S.)
Ladies and gentlemen, it's my great
pleasure to introduce my new boss
and new best friend...Jack Mathews!
To thunderous APPLAUSE Jack limps onstage, not fully over
the injuries sustained in his fight with killer Mathews.
His hair is longer and scruffier, he's more casually dressed,
and he smiles the smile of a man who has stepped into the
land of his dreams and likes every bit of what he sees.
JACK
Thank you all for that wonderful
welcome, and thanks for making this
opening night such an unqualified
success. Just, please...don't be
strangers. Keep coming back!
-----------------------------------------------------------------------------------------------------
122.
JACK (CONT'D)
If you don't, I'll have to go back
to being an architect, and you'll
have one less place to come to when
you sneak away from your husbands or
wives or insignificant others....
After that LAUGH he focuses on the front-row table where his
friends are seated. He smiles at them and they all beam back.
JACK (CONT'D)
Before I get into what passes for my
act, I'd like to recognize some very
special people in my life.... They're
all sitting at this table in front.
ANGLE ON the group at the table.
JACK (O.S.) (CONT'D)
First, and definitely foremost, there
is my blushing and radiant new bride,
Gayle. Without her determination and
courage and sheer guts, I wouldn't
be here at all. I love you, hon....
CLOSE ON GAYLE
Blinking back tears, she blows him a heartfelt kiss with
both hands as everyone else at the table--and then everyone
else in the place--stands up to give her a standing ovation.
They all know what she did.
ANGLE ON Jack at the Microphone
He claps harder than anyone, tears trickling down his cheeks
above a huge grin of well-earned, delirious joy....
FADE OUT:
THE END
All Original Material Copyright 2007
© Lloyd Pye