-MOONLIGHTING-
written
by
Gordon
Caron
(pilot)
FIRST
DRAFT
August
I,
1984
REV.
9/11/84
REV.
9/19/84
REV.
9/24/84
REV.
9/24/84
REV.
10/4/84
REV.
10/11/84
REV.
10/22/84
REV.
10/23/84
1
"MOONLIGHTING"
SET
LIST
EXTERIORS
MADDIE'S
HOUSE
Front
Door
.
Front
Yard/Driveway
Int.
David's
Porsche
DETECTIVE
AGENCY
Century
City
Skyscraper
"BONAVENTURE"
HOTEL
Underground
Garage
Entrance
Int.
Fiat
"EASTERN"
BUILDING
Street
and
Entrance
Roof
and
Clock
POLICE
STATION
Side
Entrance
.
UNDERGROUND
GARAGE
(NEAR
POLICE)
Street
Entrance
BEVERLY
HILLS
COMMERCIAL
BLDG.
Street
Entrance
INTERIORS
MADDIE'S
HOUSE
Bedroom
Upstairs
Hallway
Foyer
with
Stairway
Living
Room
Kitchen
Breakfast
Room
DETECTIVE
AGENCY
Corridor
Elevator
Outer
Office
(with
Reception
Area)
David
Addison's
Office
"BONAVENTURE"
HOTEL
Underground
Garage
(with
Ticket
Machine)
Passageway
to
Escalators
Escalators
Lobby
2
Glass
Elevators
3
Corridors
"Top
of
Fives"
Restaurant
"EASTERN"
BUILDING
Lobby
Freight
Elevator
POLICE
STATION
Interrogation
Room
Corridor
#1
(with
Bench)
Corridor
#2
(with
Side
Entrance)
UNDERGROUND
GARAGE
(NEAR
POLICE
(with
Pay
Telephone)
Int.
David's
Porsche
BEVERLY
HILLS
COMMERCIAL
BLDG.
Lobby
2
Elevators
3
Corridors
4
Double
Doors
to
Office
5
Accountants'
Offices
2
(X)
EXTERIORS
KAPLAN'S
APARTMENT
BLDG.
Pool
Area
Front
Entrance
Street
Int.
Jaguar
BAR
(NEAR
KAPLAN'S
APT.)
PAWNSHOP
Street
Entrance
SIDEWALKS
AND
STREETS
Jogging
Sequence
NEWSSTAND
Int.
Jaguar
STREETS
(VARIOUS)
Int.
Jaguar
(moving)
STREET
AND
INTERSECTIONS
"Fiat"
-
Cadillac
Chase
+
Int.
"Fiat"
(moving)
INTERIORS
KAPLAN'S
APARTMENT
BLDG.
Kaplan's
Apt.
Bedroom
BAR
(NEAR
KAPLAN'S
APT.)
(with
Phone
Booth)
PAWNSHOP
Counter
Back
of
Store
(with
Curtain)
ATTORNEY'S
OFFICE
UNDERGROUND
GARAGE
(ATTORNEY'S
BUILDING)
PUBLIC
LIBRARY
Entrance
"Vast
Caverns"
Map
Room
HEINZ'S
HOUSE
Kitchen
Hallway
(with
Phone)
MOHAWK'S
APARTMENT
3
NOTE:
An
Asterisk
(*)
next
to
a
scene
number
indicates
that
scenes
have
been
omitted
prior
to
that
number.
4
v
REV.
10-4-84
"MOONLIGHTING"
ACT
ONE
FADE
IN:
TIGHT
ON
THE
BACK
OF
A
DIGITAL
CLOCK
RADIO
And
we
HEAR
A
CLICK...and
the
SMALL
BUZZ
of
an
ALARM...
and
we
see
a
MALE
HAND
reach
INTO
FRAME
and
SWITCH
IT
OFF.
And
we...
SHOCK
CUT
TO:
A
PAIR
OF
ANKLES
...as
hands
guide
a
pair
of
sweat-pants
over
then
UP
and
FRAME.
we...
SHOCK
CUT
TO:
RUNNING
SHOES
...being
tied.
NO
SOUND
save
for
gentle
breathing.
'
The
light
soft
and
dim...filtered
through
UNSEEN
drapes.
And
we...
SHOCK
CUT
TO:
A
PAIR
OF
HANDS
...as
they
PULL
a
GYM
SHIRT
over
the
back
of
a
head
and
down
a
neck.
Nothing
unusual...save
for
the
fact
that
one
of
the
wrists
has
TWO
WATCHES
strapped
to
it.
SHOCK
CUT
TO:
JONATHAN
KAPLAN'S
FACE
'
A
nice
face...the
southern
side
of
thirty...and
the
clear
eyes
of
a
man
who
takes
care
of
himself.
And
he
BENDS
DOWN
and
KISSES
the
back
of
SUSAN
KAPLAN
who
lies
sleeping
on
one
side
of
their
large
bed.
5
Bt
REV.
10-4-84
(X)
.
1a
\.
-
CONTINUED
5
SUSAN
(her
eyes
opening
at
his
kiss)
Jonathan?
KAPLAN
(a
whisper)
Sleep.
And
as
KAPLAN
TURNS
and
makes
his
way
out
of
the
apart-
ment...we...
.
'SHOCK
CUT
TO:
J
6
THE
BACK
OF
ANOTHER
CLOCK
...a
simple
wind-up
job...and
SUDDENLY
the
BELL
GOES
OFF.
And
a
hand
REACHES
OUT...cutting
the
alarm.
And
we
FOLLOW
THE
HAND
back
to
its
owner...a
blond
young
man
sporting
a
MOHAWK...his
eyes
not
clear
at
all
and
we...
SHOCK
CUT
TO:
A
NAKED
BACK
...and
we
can't
help
but
notice
the
scars...and
the
gun
in
the
shoulder
holster...suddenly
obscured
by
the
dirty
grey
sweatshirt
he
pulls
over
himself...as
we...
SHOCK
CUT
TO:
HIS
FACE
...as
he
pulls
on
a
pair
of
goggles...black...sinister...
across
his
eyes...and
then
drops
a
pair
of
"WALKMAN"
headphones
over
his
ears...as
we...
SHOCK
CUT
TO:
A
CASSETTE
TAPE
...that
he
loads
into
a
miniature
stereo
with
a
click...
a
bullet
in
the
chamber
of
a
gun...and
SUDDENLY...an
EXPLOSION
OF
SOUND...
MUSIC
"You
gotta
be
mine...
Cause
you're
so
fine...
I
like
your
style...
It
makes
me
wild...
...and
we...
SHOCK
CUT
TO:
7
v
—~
~
THE
SIDEWALK
«+..LOW
TO
THE
GROUND...MOVING
by
us
QUICKLY...and
we
HEAR
only
EARLY
MORNING
SOUNDS...and
then
we
SEE
them...
SNEAKERED
FEET...Kaplan's
feet...making
their
way
down
the
street...jogging...the
SOUND
of
a
RUNNER'S
HARD
BREATH.
..
ON
KAPLAN
...his
face
relaxed...having
found
his
pace...alone
on
the
early
morning
street...
SIDEWALK
we
watch
KAPLAN'S
SNEAKERED
FEET
fly
across
the
pavement...the
pace
unwavering...his
breath
a
metroncme
keeping
time...and
on
the
edge
of
the
FRAME.
we
can
see
them...falling
into-place
behind
another
pair
of
feet...BARE
FEET.
ANOTHER
ANGLE
...and
now
we
see
him,
the
GOGGLED
JOGGER...right
behind
KAPLAN...moving
up
on
him...
FAVORING
KAPLAN
...hearing
someone
behind
him...or
perhaps
just
sensin§
it...and
reflexively
moving
to
his
left
to
let
him
pass...
ANOTHER
ANGLE
...as
the
barefooted
runner
pulls
up
alongside
of
Kaplan
and
STAYS
THERE...the
two
of
them
running
side
by
side...
ON
KAPLAN
...puzzled
by
this...turning
and
looking
over
at...
10
11
13
14
15
16
8
THE
BAREFOOTED
JOGGER
-
KAPLAN'S
P.O.V.
...who
turns
to
Kaplan...his
single
furrow
of
blond
hair
and
the
black
goggles
making
him
an
odd
sight...
and
SUDDENLY
he
SMILES.
KAPLAN
-
THE
BAREFOOTED
JOGGER'S
P.0.V.
...and
SUDDENLY...the
SOUNDTRACK
EXPLODES
with
the
MUSIC
playing
in
the
barefoot
jogger's
head...
MUSIC
"She
looks
so
great...
Every
time
I
see
her
face...
She
puts
me
in
a
state...
State
of
shock...
...and
we
WATCH
Kaplan's
nonplussed
expression
as
this
strange
man
runs
alongside
him...BY
HIM...WITH
HIM...
.
into
his
.
.
ANOTHER
ANGLE
...as
Kaplan
abruptly
increases
his
speed...moving
from
a
jog
to
a
sprint...and
the
barefoot
runner
loses
little
more
than
half
a
stride
before
he
quickens
his
own
pace
and
falls
into
place
beside
him.
TIGHT
ON
KAPLAN
...and
for
the
first
time
we
see
sweat
forming
on
his
brow...and
he
suddenly
begins
to
SLOW...
ANOTHER
ANGLE
...and
we
watch
as
the
barefooted
runner
SLOWS
as
well...
ON
KAPLAN
...as
he
sighs...and
finally...abruptly...simply
STOPS.
ANOTHER
ANGLE
...as
the
barefooted
runner
stops
as
well...several
yards
ahead
of
Kaplan.
17
18
19
20
21
22
23
9
O
N
-
FAVORING
KAPLAN
...as
he
waits
for
the
barefooted
shadow
to
turn
to
him...
to
explain...say
something...
KAPLAN
(finally;
to
the
guy's
back)
Do
I
know
you?
(and
then)
Is
there
something
you
want
from
me?
ON
THE
BAREFOOTED
RUNNER
...and
though
we
can
SEE
KAPLAN
standing
him...
talking
to
him...all
we
can
HEAR
IS...
‘MUSIC
-
puts
me
in
a
state...
State
of
shock!...
...and
we
SEE
KAPLAN
finally
stop
talking...giving
up...
giving
a
mild
SHRUG
and
TURNING...and
at
the
same
time
the
hand
of
the
barefooted
runner
makes
its
way
up
in-
side
his
sweatshirt...searching
for
the
well-hidden
gun...
FAVORING
KAPLAN
...as
he
TURNS...and
begins
to
JOG
down
the
street
in
the
opposite
direction...shaking
his
head...clearly
puzzled
by
the
stranger
he
met
on
his
run...
ON
THE
BLOND
MAN
...as
he
PULLS
the
GUN
from
under
his
shirt...about
to
raise
it
and
fire
at
Kaplan's
back...
ON
KAPLAN
...as
he
starts
to
make
his
way
ACROSS
the
STREET...
ON
THE
BLOND
MAN
...as
he
COCKS
the
revolver...
24
25
26
27
28
29
10
l/-.
ANOTHER
ANGLE
ON
KAPLAN
...half-way
across
the
street...GLANCING
over
his
shoulder
to
catch
a
look
at
the
blond
man
and
SUDDENLY
he
SEES
it...
TIGHT
ON
KAPLAN'S
EYES
...at
the
moment
of
REALIZATION...the
KNOWING
that
he
is
about
to
be
blasted
out
of
his
sneakers...
THE
GRILL
OF
THE
CHEVROLET
...and
from
out
of
nowhere
as
it
lifts
KAPLAN
off
the
ground...
.
...as
he
ROLLS
UP
and
OVER
the
WINDSHIELD...ONTO
the
ROOF
and
CRASHES
to
the
GROUND...the
SOUND
of
tires
SQUEALING
on
asphalt...coming
to
a
HARD,
FAST
STOP...
ON
THE
BLOND
MAN
...not
guite
sure
what
has
happened...and
then
real~
izing...clearly
STUNNED...QUICKLY
RETURNING
HIS
GUN
to
his
holster
under
his
shirt...RIPPING
the
earphones
off
his
head...
FEMALE
(0.C.)
(hysterical)
I
didn't
see
him!
I
didn't
see
him!
I
swear...I
didn't
see
him!
ANGLE
...as
he
makes
his
way
over
to
Kaplan's
body...KNEELING
beside
it...TEARING
OPEN
his
SHIRT
in
a
seeming
effort
to
give
him
air
and
then...
TIGHT
ON
KAPLAN
...we
can't
help
but
notice
the
way
the
blond
man
gently
REMOVES
one
of
the
WRISTWATCHES
from
Kaplan's
wrist
and...
30
31
32
33
34
35
36
11
g
{
REV.
9-19-84
ON
THE
BLOND
MAN
...deftly
PUTS
IT
IN
his
own
POCKET
without
the
hysterical
housewife
noticing...
ANOTHER
ANGLE
...as
cars
begin
to
STOP...a
Police
car...and
a
crowd
of
eight
or
ten
early
morning
dog
walkers
and
joggers
gather,
the
crackle
of
POLICE
RADIOS
and
the
spinning
red
beacon
of
their
reflectors
lighting
up
the
morning...
ON
THE
BLOND
MAN
...as
he
lifts
himself
up
and
off
the
ground...making
way
for
the
OFFICERS...
BLOND
MAN
.
(to
one
of
the
policemen)
It
was
weird.
The
guy
just
ran
into
the
street
without
looking.
LONG
SHOT
...and
we
watch...as
the
BLOND
MAN
and
the
OFFICER
CON-
TINUE
to
TALK...the
OFFICER
TAKING
NOTES...and
behind
them...the
other
officer
works
on
Kaplan...pounding
on
his
chest...offering
mouth
to
mouth...
ON
THE
BLOND
MAN
...as
he
TURNS
from
the
OFFICER...his
conversation
fin-
ished...puts
his
headphones
back
over
his
ears...and
begins
to
JOG
AWAY
from
the
scene...
REVERSE
ANGLE
...and
as
HE
gets
CLOSER
to
US...we
can't
help
but
notice
that
the
look
of
surprise
and
shock
has
completely
dis-
solved
from
his
face.
And
as
the
blond
man
jogs
CLOSER
and
CLOSER
tO
us...we...
DISSOLVE
TO:
37
38
39
40
*
41
42
*
12
REV.
9-19-84
WHITE
...and
OUT
OF
FOCUS.
And
we
don't
know
where
we
are...
what
we're
looking
at.
And
then...we
can
just
make
it
out...the
soft
line
of
a
cheek...a
WOMAN'S
cheek...as
SLOWLY...DELIBERATELY...we
come
INTO
FOCUS
and
see
it.
THE
FACE.
Soft
and
oddly
STILL.
A
beautiful
woman's
face.
And
THEN...as
the
CAMERA
starts
to
MOVE...we
re-
alize
that
we
are
looking
‘at-a
PHOTOGRAPH.
An
incredibly
striking
photograph
of
a
spellbinding
woman---MADDIE
HAYES.
And
as
we
CONTINUE
DOWN
this
LONG
HALLWAY
we
realize
that
this
is
just
one
of
many
pictures...that
we
are
moving
through
a
virtual
gallery
of
Maddie
Hayes
photographs...some
so
large
they
extend
from
floor
to
ceiling...Scavullos...Hamiltons...Hurrells.
And
we
MOVE
THROUGH
a
DOORWAY
and
INTO...
INT.
MADDIE'S
BEDROOM
-
DAY
Huge.
Long
white
drapes
hang
from
the
windows
and
blow
the
early
morning
breeze.
A
steamer
trunk
and
a
collection
of
half-unpacked
luggage
is
sprawled
across
the
floor.
And
at
the
far
end
of
the
room
we
can
make
out
a
huge
bed...also
white...save
for
the
slightly
darker
form
of
a
woman
who
lays
sprawled
out
across
it...portions
of
her
body
wrapped
in
silk
sheets.
TIGHTER
ON
THE
WOMAN
...as
the
CAMERA
climbs
up
her
sleeping
body...past
the
sheets
that
wind
around
her
thigh...and
across
her
back
to
the
long
mane
of
glossy
hair...we
can't
help
but
wonder
if
this
is
the
same
beautiful
woman
whose
pictures
line
the
hallway.
TIGHTER
STILL
...a8
SUDDENLY
there
is
the
SOUND
of
a
CRASH...and
the
woman's
head
bolts
from
her
pillow
with
a
START...and
she
TURNS
TOWARD
US...and...
MADDIE
What
the
hell...?
...and
we
SEE
her...the
living,
breathing,
MADDIE
HAYES.
And
she
is
even
more
of
a
killer
in
the
flesh
than
she
43
44
45
46
13
-
CONTINUED
is
through
a
lens.
And
as
the
UNSEEN
CRASHING
CONTINUES...
she
PULLS
HERSELF
OUT
OF
BED...wrapping
the
sheet
around
her
naked
body
and
making
her
way
out
of
the
bedroom
and
into...
THE
HALLWAY
...past
the
different
pictures
of
herself...as
we
HEAR...
ANDRE
(0.C.)
That's
it!
No
more
waiting!
Andre
is
through!
...and
there
is
yet
another
CRASH...as
Maddie
makes
her
way
to
a
RAILING
that
overlooks...
THE
FOYER
...where
plates
FLY
from
an
unseen
kitchen...HIT
the
wall,
and
CRASH
into
a
thousand
pieces
falling
to
the
big,
beautiful,
Italian
tiled
floor...
ON
MADDIE
;
...clearly
confused
by
all
this...leaning
over
the
rail-
ing
and
calling
down...
MADDIE
Andre?
Anybody?
What
is
going
on?
MADDIE'S
P.O.V.
...as
SUDDENLY
a
appears
in
a
white
Chef's
hat...
Chef's
blouse
and
Chef's
pants...and
he
turns
and
looks
up
at
Maddie...
ANDRE
You
want
to
know
what's
going
on?
I'll
tell
you
what's
going
on!
This...
(he
pulls
a
pay-
roll
check
out
of
his
pocket)
THIS
is
what's
going
on!
46
47
48
49
50
14
ANOTHER
ANGLE
REV.
10
...as
a
middle-aged
woman...apron
around
her
waist...
pencil
in
her
hair...SUDDENLY
appears
below
the
railing
next
to
Andre...
ON
MADDIE
SELMA
(mechanically)
Morning
Miss
Hayes...How
was
the
trip?
MADDIE
(quickly)
Selma?
What's
he
talking
about?
Why
is
he
smashing
my
China?
SELMA
(turning
to
him)
What
are
you
talking
about?
Why
are
you
smashing
her
China?
ANDRE
-
.
.
You
tell
her
I'm
an
artist!
I
do
not
work
for
free.
SELMA
(loocking
back
up
at
Maddie)
He
sez
he's
an
artist.
He
don't...
...cutting
her
off...starting
down
the
long,
winding
stairway
to
the
foyer...
MADDIE
What
does
he
mean..."free"?
Nobody's
asking
him
to
work
for
free,
ANDRE
You
tell
the
bank
that!
SELMA
(to
Maddie;
this
is
hard)
The
household
staff's
paychecks.
They
all
bounced.
Again.
9-19-84
52%
53
15
REV.
9~19-84
11
CONTINUED
MADDIE
Bounced?
What
do
you
mean...
bounced?
SELMA
(she
looks
at
Andre;
she
knows
what's
coming)
You
shouldn't
have
asked,
Miss
Hayes...
ANDRE
(livid)
Bounced?
You
want
to
know
what
bounced
means?
It
means...
(he
grabs
a
dish)
This
dish...?
(and@
SMASHES
IT
against
the
wall)
...no
bounces!
(waving
his
check)
This
check...bouncy,
bouncy,
bouncy.
(he
grabs
a
vase)
This...?
(and
SMASHES
IT
on
the
ground)
..»no
bounces!
(waving
his
check)
This
check...pingidy,
pongidy!
(he
POINTS
to
a
breakfront)
That...?
...and
_he
walks
over
to
it;
THEN
gives
it
a
PUSH...as...
SELMA
...races
over
to
the
breakfront...and
catches
it
just
before
it
hits
the
ground...
SELMA
We
get
the
idea...
53
54
16
()
:
12
v
CONTINUED
...and
with
a
great
deal
of
struggle...pushes
it
back
against
the
wall...
ANOTHER
ANGLE
...as
Maddie
makes
her
way
over
to
the
temperamental
chef...
MADDIE
Andre...whatever
the
problem
is...I'm
sure
it's
just
some
mistake.
ANDRE
That's
what
the
accountant
say.
Over
and
over
again!
-
.
Well...is
no
more
mistakes’
.
:
Andre
guit!
)
...and
with
that...he
PUSHES
his
way
PAST
THEM
BOTH...
T
over
to
the
FRONT
DOOR...OPENS
IT...then
TURNS
DRAMAT-
ICALLY
to
the
two
of
them...
ANDRE
Au
revoir!
’
...and
SLAMS
IT
CLOSED
BEHIND
HIM...which
sends...
THE
BREAKFRONT
...toppling
OVER
into
the
middle
of
the
foyer
floor
with
a
CRASH
as...
MADDIE
AND
SELMA
...JUMP
with
a
START...
MADDIE
SELMA
Aaaaaah!
ohmygodalmightyhell!
ANOTHER
ANGLE
...as
the
two
women
stand
there...eyeing
the
destruction...
breathing
hard...then
slowly
looking
up
at
each
other...
17
13
CONTINUED
Maddie
still
wrapped
in
her
sheet...Selma
forcing
a
smile
for
her
employer...
MADDIE
Let
me
get
that
accountant
on
the
phone.
(making
her
way
over
to
it)
How
long
has
this
been
going
on?
Checks
bouncing?
SELMA
(meekly;
watching
Maddie
dial)
Little
over
a
month.
Just
after
you
left
for
the
cruise.
ON
MADDIE
...shaking
her
head...and
we
can
HEAR
the
SOUND
of
a
phone
ringing
on
the
OTHER
END
OF
THE
LINE...and
then
the
SOQUND
of
it
being
picked
up...
MADDIE
(suddenly;
quickly)
Yes...this
is
Maddie
Hayes
and...
...and
she
STOPS...realizing
there
is
no
one
on
the
other
end...and
we
can't
help
but
hear...
PHONE
{FILTERED)
"We're
sorry...but
the
number
you
have
reached
is
no
longer
in
service
and
there
is
no
new
number.
...and
Maddie's
face
goes
white...and
she
quickly
presses
down
the
switchhook...dials
again
and
after
a
single
RING...
PHONE
(FILTERED)
"We're
sorry...but
the
number
you
have
reached...
58
18
REV.
10-4-84
14
-
CONTINUED
...and
Maddie
REPLACES
THE
RECEIVER
and
just
STANDS
THERE
for
the
LONGEST
TIME...
MADDIE
(somewhere
else;
not
even
looking
at
her)
Have
Peter
bring
the
car
around.
I
want
to
go
over
there
in
person.
SELMA
(after
a
long
moment)
Peter
quit
early
this
morning.
Took
the
car
with
him
as
security.
MADDIE
(a
long
moment
«
of
her
own)
It's
alright,
Selma.
1It's
alright.
Just
call
me
a
cab...
(turning)
I'll
go
get
dressed...
SELMA
(starting
off)
Yes
M'am...
ANOTHER
ANGLE
...as
the
two
of
them
start
their
separate
ways...and
then
Selma
TURNS...CLEARING
HER
THROAT...STOPPING
Maddie
in
her
tracks...
SELMA
I
just
want
you
to
know
M'am...
.
if
it
does
turn
out
that...
(and
she
STOPS;
thinks
better
of
it;
and
then)
Well...nothing
persconal
M'am...
but
I'm
just
like
the
rest
of
'em.
I
got
family.
I
got
bills.
You
understand...don't
you,
M'am?
59
60
19
(f“)
.
15
\
CONTINUED
»
MADDIE
(not
turning
back
to
look
at
her)
I'm
sure
it's
just
a
mix-up
Selma.
SELMA
(trying
to
smile)
!
I'm
sure
you're
right,
M'am.
)
...and
as
the
two
women
start
off
their
separate
ways...
we...
DISSOLVE
TO:
EXT.
BEVERLY
HILLS
STREET
-
DAY
[
...as
a
YELLOW
CAB
PULLS
UP
to
a
CURB
and
deposits
Maddie...
:
1
who
QUICKLY
CROSSES
the
sidewalk
and
MAKES
HER
WAY
INTO...
INT.
A
BEVERLY
HILLS
COMMERCIAL
BUILDING
-
DAY
...one
of
those
low-slung,
three~-story
affairs.
And
Maddie
passes
by
the
elevator...electing
to
take
the
stairs.
AaAnd
from
the
GROUND
FLOOR
LOOKING
UP...we
watch
i
as
she
CLIMBS
to
the
SECOND
FLOOR...and...
FOLLOWING
MADDIE
...makes
her
way
to
a
set
of
DOUBLE
DOORS,
painted
with
gold
leaf:
"SAWYER
AND
SAWYER
Certified
Public
Accountants"
...and
THROUGH
the
FROSTED
GLASS
all
we
can
SEE
is
DARKNESS..
.
ON
MADDIE
R
.
...as
she
stands
there
for
the
LONGEST
TIME...this
is
60
61
62
63
64
20
ON
MADDIE
REV.
10-4-84
16
CONTINUED
what
she
was
afraid
of...but
she
PUSHES
against
the
door
just
the
same...and
to
her
surprise...
THE
DOOR
open...
INT.
SAWYER
AND
SAWYER
-
DAY
DARK...and
abandoned.
And
as
Maddie
makes
her
SLOW
and
MEASURED
way
into
the
place...we
can't
help
but
notice
that
there
are
NO
DESKS...NO
LIGHTS...NO
PEOPLE...just
occasional
puddles
of
scattered
papers
strewn
across
the
floor.
...as
she
STOPS...and
stands
there...alone...in
the
middle
of
all
the
nothing.
And
even
in
the
darkness...
we
can
still
make
out
the
beginning
of
a
tear
making
its
way
down
her
face.
And
we...
DISSOLVE
TO:
OMIT
TIGHT
ON
A
SET
OF
LEGAL
DOCUMENTS
"LEVINE,
WEBB,
SHEPARD
AND
SHEPARD,
Attorneys
at
Law"
on
the
LETTERHEAD...and
we
PULL
BACK
to
REVEAL
a
middle-
aged
attorney...ALAN
WEBB...Clutching
a
sheath
of
docu-
ments...pacing
back
and
forth
across
the
big
office
as
Maddie
stands
in
a
corner...her
eyes
following
him
around
the
room...
64
65
66
67
68-62
70
21
-
CONTINUED
17
MADDIE
(filled
with
rage)
What
are
you
telling
me?
That
it's
over?
That
I
have
no
re-
course?
That
people
can
steal
everything
I've
worked
so
hard
for
since
I
was
fourteen
and
there's
nothing
I
can
do
about
it?
ALAN
{(glancing
up
over
the
papers
at
her)
The
truth?
(after
a
moment)
Maddie?
Yourbeen
done.
been
done
good!
Those
business
managers
of
yours
have
taken
every
dime
you
had
in
the
bank.
MADDIE
Oh,
Alan...
(falling
into
a
chair)
I'm
broke?
WEBB
No.
You're
not
broke.
MADDIE
It
sure
sounds
like
broke.
WEBB
{seating
himself)
And
it's
going
to
feel
like
broke.
But
they
only
took
your
liquid
assets.
Cash
in
the
bank.
Stock
certificates.
That
kind
of
thing.
You
do
have
other
sources
of
income.
MADDIE
Like
what?
REV.
10-4-84
70
22
CONTINUED
17a
WEBB
Well
for
one
thing...you've
in-
vested
in
some
companies.
a
whole
list
of
them
here.
through
the
documents)
Got
a
dog
grooming
outfit.
MADDIE
{cutting
him
off)
Alan,
Alan,
alan...!
There's
REV.
10-4-84
70
23
CONTINUED
18
WEBB
(CONT'D)
Got
a
finger
nail
boutigque...
MADDIE
(not
listening)
Tell
me
it
gets
better.
Say,
"Maddie,
it
gets
better".
WEBB
This
is
kind
of
interesting.
A
family
portrait
studio.
MADDIE
(pointing
across
the
room)
Hand
me
that
wastebasket.
I'm
going
to
throw
up.
'
WEBB
Don't
throw
up
yet.
You
also
own
a
piece
of
a
bait
and
tackle
shop,
a
dirty
book
store
and
a
detective
agency.
And
last
year...that
entire
group
of
investments
produced...
(he
flips
to
the
next
page;
stunned)
Four-hundred
thousand,
three
hundred
and
eleven
dollars.
MADDIE
(lifting
her
head)
Hey!
That's
not
bad!
That's
great!
I
made
that
much?
WEBB
No.
You
lost
that
much.
Ap-
parently
these
investments
are
maintained
as
write-offs.
MADDIE
Oh
Alan...
REV.
10-4-84
...and
as
she
looks
at
Alan
with
nothing
but
despair...
we...
SHOCK
CUT
TO:
70
24
19
INT.
UNDERGROUND
GARAGE
DAY
REV.
...as
Maddie
and
Alan
make
their
way
through
the
maze
of
parked
cars...
ANOTHER
ANGLE
WEBB
Let's
not
lose
our
heads
here.
It's
not
the
end
of
the
world.
(turning
to
her)
You
are
Maddie
Hayes.
MADDIE
What's
that
supposed
to
mean?
WEBB
It
means...five
years
ago
you
were
one
of
the
country's
hot-
test
models.
7You
don't
think
there
are
companies
out
there
that
wouldn't
pay
through
the
ying
yang
tb
have
you
stand
next
to
a
car...or...pose
in
their
clothes...or...I
don't
know...fondle
their
fridge
or
something?
I
mean
there
are
always
Auto
Shows...
MADDIE
Blechhhh!
WEBB
Maddie...there
are
worse
ways
to
make
a
buck.
kind
of
sorry...kind
of
sad...
MADDIE
{(after
a
moment)
You're
a
good
lawyer,
Alan.
You're
a
good
friend.
WEBB
(holding
out
his
keys)
You're
only
saying
that
because
I'm
loaning
you
my
car.
...as
the
two
of
them
stop...and
Alan
looks
at
her...
10-4-84
72%
723
25
REV.
10-4-84
20
CONTINUED
MADDIE
(taking
them)
You're
right.
ANOTHER
ANGLE
...and
MADDIE
slides
into
a
parked
Mercedes,
Alan
lean-
ing
down...
WEBB
I'll
draw
you
a
check
so
you
can
get
your
car
back...in
the
meantime...
(handing
her
a
list)
I
want
you
to
go
home...pull
-
yourself
together
and
then
|
visit
each
of
these
businesses.
Liquidate
what
you
can.
Some
of
the
managers
may
offer
to
buy-
you
out
on
the
spot.
The
main
thing
is,
put
them
on
no-
tice.
Close
them
up.
You
can't
afford
to
sustain
these
kind
of
losses
anymore.
MADDIE
(starting
the
engine)
I
don't
like
this,
Alan.
I
don't
like
being
poor.
Poor
doesn't
become
me.
WEBB
(a2
smile)
You
have
such
a
pretty
chin.
Be
sure
to
keep
it
up.
...and
Maddie
SMILES
back...and
we
HEAR
the
SQUEAL
OF
THE
TIRES
against
the
pavement
as
the
car
turns...and
quickly
makes
its
way
out
of
the
garage...and
we
HOLD
on
ALAN...as
he
stands
and
watches
his
car
disappear
from
view...and
we...
SHOCK
CUT
TO:
72A
73
26
21
THE
BOTTOM
OF
AN
ELEVATOR
DOOR
...as
it
slides
OPEN
and
a
PAIR
of
beautifully
tapered
ankles
in
expensive,
eel-skinned
pumps,
pump
their
way
out
of
the
elevator.
TIGHT
ON
A
PAIR
OF
"RISKY
BUSINESS"
SUNGLASSES
...attached
to
the
highest
cheekbones
in
the
history
of
broadcasting.
WIDER
ANGLE
...to
REVEAL
Maddie...making
her
way
down
an
office
building
corridor...a
"don't
mess
with
me"
expression
painted
across
her
face...as
we...
.
;
.
'
SHOCK
CUT
TIGHT
ON
A
PHONE
...as
one
of
the
"lines"
lights
up...and
a
HAND
reaches
INTO
FRAME..
.PICKS
UP
THE
RECEIVER
and...
MS.
DIPESTO
(mechanically;
and
without
enthusiasm)
City
of
Angels
Investigations.
Lost
or
stolen
property
our
specialty.
You
dropped
it?
We'll
spot
it.
He
cheats?
We'll
peek.
Little
one's
gone?
We'll
find
him
before
dawn.
No
job
is
too
big.
No
job
is
too
small.
We're
here
to
please---
one
and
all.
We're
licensed
by
the
state
of
California
and
hap-
.
pily
accept
all
major
credit
cards.
(and
then)
How
can
I
help
you?
(and
then)
No
thanks.
We
already
subscribe.
...and
as
she
SLAMS
THE
PHONE
back
down
onto
the
cradle
she
looks
up
and...
74
75
76
77
27
CONTINUED
22
MS.
DIPESTO
(after
a
moment)
Wow.
TIGHT
ON
A
BEAUTIFULLY
MANICURED
HAND
REV.
10-4-84
...as
it
gently
pushes
the
pair
of
sunglasses
ever
so
slightly
down
its
nose...eyes
moving
around
the
room...
The
lady
is
lethal.
she
knows
it.
lips
pursed.
...and
we...
'
MADDIE
(not
even
look-
ing
at
her)
Can
you
tell
me
the
name
of
the
person
in
charge?
.
MS.
DIPESTO
(looking
up;
barely
able
to
speak)
That
would
be
Mr.
Addison.
Should
I
tell
him
you're
here?
(reaching
for
the
phone)
wWho
are
you?
(thinking
better
of
it)
Doesn't
matter.
He'll
see
anyone.
SUPER
TIGHT
ON
DAVID
ADDISON'S
FACE
...not
a
bad
face,
either.
Easy
to
look
at.
ties...kind
of
blond...kind
of
brown.
not
even
remembeér
him
if
it
were
not
for
the
small
spark
of
madness
in
his
eyes...EYES
that
dart
to
the
LEFT...
and
then
to
the
RIGHT...
SHOCK
CUT
TO:
Mid
thir-
And
you
might
77
81
28
REV.
10-4-84
(X)
-
.
)
CONTINUED
81
DAVID
(to
no
one
in
particular)
He's
surrounded.
And
no
one
is
in
the
clear.
He
dribbles
like
mad
as
he
looks
for
a
hole.
{seeing
something;
a
small
GASP)
Suddenly...he
sees
it!
FURTHER
BACK
82
...and
now
we
SEE
him...seated
in
a
large
swivel
office
chair
with
casters...as
he
SUDDENLY
PUSHES
HIMSELF
off
the
side
of
his
desk
with
his
legs...and
he
and
his
chair
go
whizzing
across
the
room...TOWARDS
the
OFFICE
DOOR...
29
REV.
9-19-84
23
ON
A
BALL
...that
he
holds
above
his
head...
ON
DAVID
...as
he
coils
his
arms...cocks
the
ball...releases
it...
DAVID
And
it's
up...!
ON
A
BASKET
...a
wastepaper
basket
in
fact...propped
on
the
metal
hinges
that
extend
from
the
top
of
his
office
door...
as
the
BALL
DROPS
cleanly
into
it...
ON
DAVID
-
.
...as
he
WHISTLES...and
CRASHES
into
the
door...
DAVID
...and
it's
IN!1!!
...and
he
cups
his
hands...and
hollers
"YEAH"
into
them...
creating
the
SOUND
of
thousands
cheering...
DAVID
And
the
fans
leap
to
their
feet!
(leaping
to
his
own
feet)
Grown
men
cry.
Women
throw
un-
derwear.
And
even
as
the
Pres-
ident
shakes
his
hand
on
the
White
House
lawn...he
silently
promises
himself,
his
Mother
and
his
God,
that
no
matter
how
big
he
becomes...he's
never...
ever...going
to
change.
ANOTHER
ANGLE
...as
the
OFFICE
DOOR
unexpectedly
OPENS...and
the
waste-
basket
TUMBLES
from
its
perch...landing
cleanly
over...
83
84
85
86
87
30
24
DIPESTO'S
HEAD
...a
startled
Maddie
standing
just
behind
her...
ON
DAVID
...as
he
TURNS...and
SEES
her...not
Dipesto...JUST
MADDIE...and
is
CLEARLY
dumbstruck.
DAVID
{after
a
long
moment)
Hi.
MADDIE
(an
Alaskan
refrigerator)
Hello.
.+
DAVID
-
(thrilled;
slowly
making
his
way
over
.
to
her)
"Hello"?
(and
then)
Wow.
ON
MADDIE
...as
she
indicates...with
a
glance
of
her
eyes...the
woman
standing
next
to
her
with
a
garbage
pail
over
her
head...
ON
DAVID
...finally
SEEING
this...mildly
embarrassed...
DAVID
My
goodness,
Miss
Dipesto...
You're
looking
a
little
pale
today...
(a
wink
to
Maddie)
And
who
have
we
here?
MS.
DIPESTO
(totally
unintel-
ligible
through
the
wastebasket)
Mpht
regmph
flky
muph
milman...
90
91
31
CONTINUED
25
REV.
10-22-84
DAVID
Now,
now...no
reason
to
be
shy.
(pulling
the
can
off
of
her;
kissing
her
on
the
top
of
her
head)
Let's
see
a
little
confidence...
a
little
charisma...a
little
Dale
Carnegie.
Remember...lesson
one...imagine
your
whole
audience
is
naked...
(he
steps
back
to
let
both
her
and
Maddie
admire
the
view)
Boggles
the
mind,
doesn't
it?
(moving
back
in;
Dipesto;
an
intimate
Amscray...willya?
(letting
her
go;
taking
Maddie
by
the
hand
and
with
a
single
motion
leading
her
into
the
office
and
closing
the
door
on
Dipesto's
face)
Terrible
problem,
shyness.
Believe
me...I
know.
But
don't
worry.
We're
get
her
the
best
help
there
is.
Better
than
the
best.
She's
come
a
long
way
already.
Why...when
I
found
her,
she
was
nothing
but
a
poor
urchin...out
on
the
street...urchining.
But
you
don't
want
to
hear
that...
MADDIE
(the
truth)
I
don't
want
to
hear
that...
DAVID
S0000...0kay.
So
my
name
is
David
Addison
and
your
name
is...?
MADDIE
Maddie
Hayes.
DAVID
(Cont'd)
...Maddie
Hayes
and...
(stopping
for
a
moment)
Don't
I
know
you?
91
R
R
R
]
32
.
26
CONTINUED
MADDIE
No.
don't
believe
we've
ever
met.
DAVID
(pulling
himself
out
of
his
chair)
No.
Wait
a
second.
Can't
fool
me.
The
eyes
don't
lie.
(pointing
to
them)
Not
these
babies.
Photographic.
See
sbmething
once
and
it's
locked
in
there...
(snaps
his
fingers)
...for
life.
.
..
MADDIE
.
(trying
her
best)
.
Really?
I
didn't
think
there
was
anything
locked
in
there...
DAVID
No,
no,
no,
no.
There's
no
changing
the
subject.
You're
looking
at
a
bloodhound.
Once
I'm
onto
something...
MADDIE
That's
all
well
and
good,
Mr.
Addison,
but...
.
DAVID
I'11
get
it...I'll
get
it...
ANOTHER
ANGLE
...as
he
STANDS
THERE
and
STARES
at
her...for
the
LONGEST
time.
MADDIE
(finally;
getting
it
over
with)
Alright...well...you
might
have
my
picture...
91
92
33
CONTINUED
92
Knew
it.
DAVID
.
(thrilleqd)
MADDIE
No
flies
on
you.
.
DAVID
)
Nope.
There
certainly
aren't.
'
Whatever
that
means.
MADDIE
i
Now
then...
DAVID
What
are
we
talking.
Late
seventies?
"+
MADDIE
Excuse
me?
DAVID
(S
The
year's
fuzzy
for
me,
but
1'll
bet
the
house
you
were
a
Miss
March.
MADDIE
A
what?
DAVID
A
Playmate
of
the
Month.
March.
What?
About
1976?
I
can
see
the
whole
layout
in
my
head.
You
liked
jazz.
Your
favorite
movie
was
"Jonathan
Livingston
You
want-
ed
to
help
underprivileged
kids.
Am
I
right
or
am
I
right?
I
mean...hey...I
really
can
see
the
whole
layout
in
my
head.
And
if
you
don't
mind
my
saying
even
more
beautiful...
now...here...in
my
office...
completely
dressed...almost
a
decade
later...
(and
then)
Wow.
34
28
FOLLOWING
DAVID
...as
he
looks
at
her...clearly
impressed...shakes
his
head...TURNS...and
returns
to
his
desk...once
again
throwing
himself
into
his
chair.
DAVID
{looking
at
her;
GRINNING)
ON
MADDIE
...leaping
up
from
her
chair...starting
towards
him...
all
she
can
take...
MADDIE
Listen,
Bub...you
knock
that
High
School
Locker
Room
grin
off
your
fade
or
'I'll
it
off
for
you!
ANOTHER
ANGLE
...and
she
is
leaning
over
his
desk
now...damn
near
on
top
of
him...as
he
cowers
in
his
chair...
MADDIE
(CONT'D)
I'm
not
Miss
March
or
Miss
May
or
Miss
Anything
Else.
For
your
information
my
name
is
Madolyn
Hayes...and
I
own
this
place!
ON
DAVID
...as
what
she
is
saying
starts
to
sink
in.
And
he
looks
up
at
her...and
it
takes
a
second
for
it
all
to
register...
DAVID
Madolyn
Hayes?
Madolyn
Hayes?
You're...Maddie
Hayes?
FAVORING
MADDIE
...she
doesn't
like
the
way
this
is
going...
93
94
95
96
97
35
CONTINUED
97
DAVID
I
The
Maddie
Hayes?
The
Blue
]
Moon
Girl?
Blue
Moon
Shampoo?
ON
DAVID
98
...and
he's
got
her.
And
he
leaps
out
of
his
seat.
DAVID
{(thrilled)
'
Sure!
(quoting)
"Blue
Moon
Shampoo.
The
only
shampoo
with
milk,
honey
and
a
tablespoon
of
moonbeams
in
every
bottle.™
MADDIE
(frustrated
beyond
belief)
Mr.
Addi...
DAVID
(cutting
her
off)
Wow.
You're
her.
She's
you.
The
girl
from
the
bottle.
The
girl
in
the
The
girl
that
was
everywhere!
I
knew
I'd
seen
you.
(stepping
back;
looking
-at
her
again)
God.
I
gotta
tell
you.
I
love
you.
I've
always
loved
you.
Really.
Truly.
.
(and
then)
So0000...What
is
it
you
want
to
tell
old
Dave?
MADDIE
(she
looks
up;
hears
the
silence;
goes
for
it)
You're
fired.
...and
he
LOOKS
AT
HER...not
guite
sure
he
heard
correctly...
36
N
.
30
(
\
CONTINUED
DAVID
Come
again?
MADDIE
Mr.
Addison...the
City
of
Angels
Investigation
Company
is
wholly
owned
by
me
and
my
company,
Madhays
Inc.
I've
suffered
some
sudden
financial
reverses...and
that...
coupled
with
the
fact
that
this
company
has
registered
significant
losses
during
all
of
its
three
years
of
operation,
forces
me
to...
DAVID
Fired?
-
-
MADDIE
(CONT'D)
...ask
you,
to
close
its
doors.
And
that
does
mean
immediately.
S
I
will
expect
all
expense
ac-
T
counts
and
credit
cards
main-
tained
in
the
company
name
to
be
surrendered
to
me
or
my
rep-
resentatives.
I
will
expect
the
timely
return
of
all
com-
pany
cars...
DAVID
The
company
car?
My
company
car?
The
Porsche?
(and
then)
Both
of
them?
...and
Maddie
doesn't
even
acknowledge
this...just
TURNS...
and
starts
out
the
door
of
his
office...as
we
BEGIN...
THE
LONGEST
TRACKING
SHOT
...in
the
history
of
television...and
WE
follow
Maddie
who
is
closely
FOLLOWED
by
David
through
the
bullpen...
37
CONTINUED
ON
DAVID
REV.
31
MADDIE
(still
talking)
Realtors
are
already
at
work
trying
to
locate
an
interested
party
to
sublet
this
space
so
obviously
the
sooner
you
inform
your
employees
of
the
situation
the
easier
it
will
be
for
every-
one.
Naturally
we'll
honor
what-
ever
severance
agreements
might
have
been
negotiated
into
any
individual's
contract.
And
of
course
there
will
be
an
addition-
al
two
weeks'
pay
to
any
employee
who
isn't
covered
by
a
severan...
(her
voice
trailing
off;
and
then;
,
-
finally
STOPPING;
TURNING
to
him;
noting
his
expression)
Mr.
Addison...are
you
"getting”
all
this?
{(and
then)
This
isn't
easy
for
me
either.
I
don't
enjoy
putting
people
out
of
work.
10-4-84
...just
standing
at
her...watching
her...
kind
of
mad...kind
of
smitten...SPEECHLESS.
ANOTHER
ANGLE
...as
Maddie
waits
for
a
reply...and
realizing
she
is
not
going
to
get
one...
MADDIE
Well,
Mr.
Addison...if
you'll
excuse
me...I
believe
I've
finished
my
business
here.
99
100
101
38
REV.
10-4-84
(X)
31a
CONTINUED
DAVID
You
can
say
that
again.
...and
Maddie
ignores
that...and
TURNS...and
makes
her
way
out
the
door
and
into...
101
39
REV.
10-4-84
32
THE
HALLWAY
...and
after
a
moment...David
is
OUT
THE
DOOR
and
INTO
THE
HALLWAY
as
well...following
her...WALKING
FAST
to
catch
up...just
steps
behind
her...
DAVID
(right
behind
her)
Y'know
what's
amazing?
From
the
television
commercials,
and
the
billboards
and
all
that
stuff...you'd
never
guess
what
a
cold
bitch
you
are.
ON
MADDIE
...as
she
STOPS
dead
in
her
tracks...TURNS...and
SLAPS
him...HARD...right
across
the
FACE.
And
the
two
of
them
stand
there...staring...glaring
at
each
other.
And
then...after
a
moment:..she
TURNS
and.
starts
again
down
the
hall.
And
we
HOLD
on
David...as
he
stands
there...rubbing
his
cheek...watching
her
go...
DAVID
(calling
after
her)
Hey!
Let's
do
this
again
sometime.
...and
we...
CUT
TO
BLACK
END
OF
ACT
ONE
102
193
40
REV.
10-4-84
ACT
TWO
FADE
IN:
EXT.
THE
CITY
-
NIGHT
103z
...a
SHOT
that
SEEMS
to
be
FROM
ON
HIGH...SKYSCRAPERS
LIT
!
UP
like
Christmas
Trees
and
the
white
and
red
light
trails
of
the
nighttime
traffic
making
its
way
home
at
the
end
of
a
busy
day.
And
we
PULL
BACK
SLOWLY
to
REVEAL
that
this
is
the
VIEW
FROM...
INT.
DAVID'S
OFFICE
-
NIGHT
...David
SITTING
in
his
desk
chair
in
the
DARK...silently
watching
the
night
out
his
window.
VOICE
(0.C.)
The
time
has
come
to
go,
To
pack
our
bags
and
blow...
...and
David
TURNS
to
DISCOVER...
.
.
DIPESTO
.
103C
...STANDING
in
his
OFFICE
DOOR
with
a
box
of
her
belong-
ings
under
her
arm...
DIPESTO
(CONT'D)
To
hit
the
streets...
"Til
next
we
meet...
And
"til
then
it's
on
with
the
show!"
(and
then)
I'm
going
to
miss
working
for
you,
Mr.,
Addison.
You
were
the
most
fun
boss
I
ever
had.
ANOTHER
ANGLE
-
103C
...as
David
SMILES
at
her...
DAVID
Hey...I
wasn't
kidding.
This"
guy's
landing
on
his
feet.
Hell...
the
word's
out
out
there.
I've
al-
*
ready
gotten
five
calls
on
my
private
line
here
from
other
agencies
begging
me
to
come
over.
And
you
know
as
soon
as
I
set
up
somewhere
I'm
going
to
be
hiring
everybody
back.
41
REV.
9-19-84
(X)
34
CONTINUED
103
...and
Dipesto
doesn't
SAY
ANYTHING...just
stands
there
SILENTLY
for
a
1ONG
MOMENT...
DAVID
(finally)
But
I'll
understand
if
you
can't
wait.
DIPESTO
let
you
know,
Mr.
Addison.
{and
then)
You
take
care.
...and
with
that
she
TURNS...and
DISAPPEARS
FROM
HIS
DOORWAY.
ON
DAVID
.
‘
:
103:
...as
he
HEARS
the
SOUND
of
the
AGENCY
DOOR
SLAM
closed
behind
her.
And
he
sits
there
for
just
a
moment
longer...
ON
HIS
HAND
1031
...as
we
watch
it
slink
across
the
desktop
and
then
SUD-
DENLY
LUNGE
for
the
phone...as
we...
CUT
TO:
OMIT
104-106
42
A
TELEPHONE
35
REV.
10-4-84
...as
a
hand
reaches
into
FRAME
and
ANSWERS
IT.
And
we
PULL
BACK
TO
REVEAL
SELMA...standing
in
MADDIE'S
ALCOVE...
dressed
in
a
hat
and
coat...a
suitcase
by
her
side...
clearly
about
to
make
her
way
out
the
door
for
the
last
time...
ON
DAVID
(mechanically)
Hayes
residence.
(and
then)
No.
sorry.
She's
not
here
right
now.
...the
panic
beginning
to
show
in
his
face...
...and
we...
.
DAVID
-
Ah...well...my
name
is
David
Addison
and
I
have
something
important
to
discuss
with
Miss
Hayes
concerning
her
financial
affairs.
(and
then)
You
wouldn't
happen
to
know
-
where
she
is...would
you?
(and
then)
Pressing?
Yeah...I'd
say
it's
pressing.
Hell...I'd
say
it's
Crushing!
)
HOCK
CUT
TO:
INT.
THE
LOBBY
OF
THE
BONAVENTURE
HOTEL
-
NIGHT
...as
Maddie
and
DR.
NEAL
SPELNER...a
man
who
makes
up
for
what
he
lacks
in
God-given
looks
with
impeccable
grooming
and
overwhelming
sartorial
splendor...make
their
way
THROUGH
THE
LOBBY...
DR.
SPELNER
What
a
lot
of
people
don't
re-
alize
is
that
plastic
surgery
is
not
a
nine-to-five
profession...
106a
106B
*
*
107
43
...STOPPING
at
a
bank
of
elevators...PRESSING
the
call
7N
bl
-
}
CONTINUED
)
)
button
and
WAITING...
]
!
‘Ffi
(X)
35A
REV.
10-4-84
107
44
REV.
9-24-84
36
CONTINUED
107
DR.
SPELNER
{CONT'D)
*
Take
myself.
1I'm
never
really
"off
duty".
I
mean...I
look
at
a
person...crossing
the
street...or
standing
next
to
me
at
the
market...
...and
the
ELEVATOR
DOORS
SLIDE
OPEN...and
the
TWO
OF
THEM...
INT.
THE
ELEVATOR
108
++.STEP
IN...
DR.
SPELNER
(CONT'D)
-
*
...and
all
I
see
is
where
to
:
nip...where
to
tuck...where
to
re-build...teshape...add..sub="
tract.
1It's
hell.
I
mean...
my
mind
never
shuts
down.
...and
as
the
ELEVATOR
RISES...we
can't
help
but
notice
nighttime,
DOWNTOWN
LOS
ANGELES
visible
through
the
glass
rear
wall
of
the
elevator...
DR.
SPELNER
(CONT'D)
That's
why
when
Dr.
Friedman
told
*
me
that
he
knew
a
virtually
flawless
woman
I
said..."Buddy...
that's
like
a
trip
to
Bermuda.
You
have
to
give
me
her
name."
»
ON
MADDIE
109
...looking
like
she's
going
to
barf...
ON
SPELNER
*110
...admiring
her...
DR.
SPELNER
*
(after
a
moment)
.
You
having
a
good
time
so
far?
You're
not
saying
anything.
45
——
~
REV.
10-4-84
37
CONTINUED
MADDIE
(trying
her
best)
I'm
speechless...
DR.
SPELNER
That
sounds
good.
I
like
that.
...and
the
ELEVATOR
DOORS
OPEN...and...
INT.
THE
TOP
OF
THE
FIVES
-
NIGHT
...Maddie
and
Dr.
Spelner
step
out...REVEALING
this
elegant
restaurant
located
on
the
top
floor
of
the
hotel...floor-to-ceiling
glass
windows
and
a
knockout
360-degree
view
of
nighttime
Los
Angeles...
Ever
eaten
here
before?
The
light
is
very
flattering.
ANOTHER
ANGLE
...as
we
FOLLOW
THEM...as
they
make
their
way
to
the
Maitre
D'...
DR.
SPELNER
Reservations
for
two
under
the
name
Spelner.
Dr.
Spelner.
By
the
way...I
could
take
care
of
that
little
thing
on
your
chin
in
fifteen
minutes
in
my
office.
...and
we...
SHOCK
CUT
TO:
BLACK
...and
then
SUDDENLY
a
CONE
of
FLAME...a
MATCH...and
it
.
lights
CANDLES
ON
A
CAKE.
And
then
we
WATCH...as
the
CAKE
is
LIFTED
and
CARRIED
through
the
DARKNESS...
-
UNSEEN
VOICES
Happy
Birthday
to
you...
Happy
Birthday
to
you...
Happy
Birthday
Dear
Jennifer...
Happy
Birthday
to
110
111
112
113
46
38
ANOTHER
ANGLE
...as
the
cake
is
set
down
in
the
middle
of
a
white-
linened
dining
room
table.
And
we
SEE
JENNIFER...just
eight
years
old...lean
forward
and
BLOW
OUT
THE
CANDLES...
and
there
is
a
ROUND
of
applause
and
then
THE
LIGHTS
ARE
TURNED
ON.
And
we
can
see
the
group...MOTHER,
FATHER,
BROTHERS
AND
SISTERS...
MOTHER
(0.C.)
What
did
you
wish
for?
ON
JENNIFER
...and
there
is
the
SOUND
of
a
TELEPHONE
RINGING...
JENNIFER
I'm
not
supposed
to
tell
you.
...and
the
RINGING
stops
having
been
answered...
JENNIFER
(CONT'D)
(with
a
giggle)
I
wished
every
day
were
my
birthday.
GRANDMA
(O.C.)
Grandpa...it's
for
you.
ON
GRANDPA
...and
we
SEE
him
for
the
first
time.
Seventy
if
a
day.
His
hands
across
his
belly...watching
his
granddaughter...
lost...and
not
having
heard.
ON
GRANDMA
...standing
under
the
archway
where
the
kitchen
meets
the
dining
room...
GRANDMA
Heinz.
Der
Fernsprecher.
ON
GRANDPA
...as
he
is
SUDDENLY
lurched
from
his
reverie...and
PULLS
himself
out
of
his
chair
and...
114
1142
115
116
117
47
/:>
INT.
THE
KITCHEN
39
REV.
9-19-84
118
...as
he
carefully
closes
the
doors
to
the
dining
room
and
seats
himself
at
the
kitchen
table...amid
the
dirty
dinner
dishes...the
laughter
and
chatter
from
the
party
leaking
into
the
room
even
as
he
picks
up
the
phone...
Hello?
HEINZ
INT.
THE
BLOND'S
APARTMENT
-
NIGHT
*119
...and
standing
in
the
hallway
between
the
bedroom
and
bathroom
is
the®BLOND
MAN...the
phone
pressed
to
his
BLOND
MAN
I
got
it
and
I
gotta
get
rid
of
it.
INT.
THE
KITCHEN
.
120
...Heinz
speaking
softly...trying
not
to
be
heard...
Tomorrow
night,
as
we
had
planned.
HEINZ
(and
then)
What
makes
you
think
people
are
following
you?
(and
then;
.
not
pleased)
Alright
then...an
hour
from
now.
...and
with
that,
Heinz
INT.
THE
LIVING
ROOM
...aé
he
walks
back
Grandpa!
HANGS
UP
the
phone...
JENNIFER
We
saved
you
a
piece
with
a
flower!
I'1ll
have
to
wrap
it
up
and
take
HEINZ
it
with
me.
That
was
the
alarm
company.
the
store.
Someone
broke
into
121
48
REV.
9-19-84
(X)
40
~
CONTINUED
...and
as
Heinz
pulls
on
his
JACKET...we...
I
CUT
TO:
INT.
THE
TOP
OF
THE
FIVES
RESTAURANT
-
NIGHT
...as
the
Maitre
D'
lowers
the
phone
and
makes
his
way
towards...
DR.
SPELNER
sits
with
lobster
bib...chewing,
nodding
and
smil-
ing
at
Maddie
as
he
attempts
to
crack
open
his
lobster...
)
N
.
SPELNER
.
.
e,
God
has
the
right
idea
with
ster...don't
you
think?
Just
/
good,
hard
shell...
W
MAITRE
D'
Dr.
Spelner?
...and
Spelner
looks
up
to
DISCOVER...
ANOTHER
ANGLE
...the
Maitre
D'
standing
above
his
table...
MAITRE
D'
There
is
a
telephone
call
for
you
at
my
desk.
They
say
it
is
most
urgent.
121
1212
*1211
121C
|
49
CONTINUED
ON
MADDIE
...as
she
WATCHES
both
him
and
the
Maitre
D'
TOWARDS
the
ENTRANCE
of
the
restaurant...and
a
:
PICKS
AT
SALAD...
(X)
41
SPELNER
Urgent?
(pulling
himself
up
from
his
seat)
Oh
my.
(to
Maddie)
I'11
be
right
back.
MADDIE
(between
her
teeth)
I1'1ll
be
here.
VOICE
Who's
the
geek
with
the
phony
tan?
REV.
9-19-84
WALK
BACK
...and
Maddie
LOOKS
UP
to
DISCOVER
David...standing
across
the
table...
DAVID
Don't
be
alarmed.
The
Good
Doctor
is
about
to
be
summoned
to
Our
Lady
of
Ladies
in
Pasadena
where
a
nose
job
has
gone
South.
Seems
one
of
his
colleagues
slipped
at
the
moment
of
truth
and
now
his
patient
can
liter-
ally
blow
in
her
own
ear.
(seating
himself)
Oh
wow...lobster...my
favorite...
MADDIE
What
are
you
doing
here...?
DAVID
(handing
her
some
keys)
Just
came
to
return
my
company
cars
and
tell
you
I
think
you're
making
a
big
mistake
closing
down
City
of
Angels
Investigations.
50
CONTINUED
REV.
42
MADDIE
If
you
don't
leave
this
table
this
instant...I'll...I'll
scream!
DAVID
Ooh
my!
That
would
bring
the
geek
back
here.
Tell
me
about
him
anyway.
Hope
you
two
aren't
planning
anything
serious.
MADDIE
(rising
from
the
table)
Mr.
Addison...
DAVID
(cutting
her
off;
across
the
restaurant)
Yeah.
That
would
be
a
waste.
The
guy...the
guy's
not
of
this
earth...y'know?
I'm
willing
to
wager...and
we're
talking
con-
siderable
money
here...that
this
guy
wears
bikini
underwear.
(turning
to
her)
Tell
me
you're
in
a
position
to
know
and
break
my
heart
forever.
MADDIE
*
(starting
across
the
restaurant)
Good-night,
Mr.
Addison...
{to
the
Maitre
D'
as
she
passes)
Tell
Dr.
Spelner
I'll
be
right
back.
DAVID
(jumping
up;
following
her)
Deny
that
the
man
blows
bubbles
with
his
drool.
A
simple
true-
false
statement.
Of
course
he
does.
Do
birds
fly?
Do
ducks
duck?
10-4-84
121D
*
%
51
REV.
10-4-84
(X)
CONTINUED
...and
he
overtakes
her...jumping
in
front
of
her
path.
DAVID
(a
different
tone)
I
just
want
to
talk
to
you.
121D
52
REV.
9-19-84
(X)
43
CONTINUED
)
121
‘MADDIE
{stepping
around
him)
But
I
don't
want
to
talk
with
you.
...and
before
David
can
get
out
another
word...Maddie
disappears
into
a
door
marked...
"LADIES'
ROOM"
1211
...David
eyeing
the
swinging
plank
with
suspicion...as
we...
SHOCK
CUT
TO:
‘
122-13:
INT.
A
FIAT
-
NIGHT
133
...a
decade
old
and
well
beat-up...the
BLOND
MAN
behind
the
wheel...winding
his
way
East
on
Sunset...MUSIC
spil-
ling
from
the
car
as
it
CUTS
and
DODGES
its
way
through
the
traffic...past
the
CLUBS
and
the
HOOKERS
and
the
NEON
SIGNS...
ON
A
TRAFFIC
LIGHT
134
...as
it
turns
from
GREEN
to
RED
and...
THE
FIAT
135
...STOPS...waiting
for
the
signal
to
change.
ON
THE
BLOND
MAN
136
...as
he
sits
there...his
head
moving
softly
to
the
MUSIC...
and
he
PULLS
a
cigarette
from
his
breast
pocket
and
stabs
"
his
lips
with
it.
as
he
reaches
forward
for
the
car
cigarette
lighter...his
eyes
dart
up
and
SEE...
53
REV.
9-19-84
(X)
N
44
THE
BEHIND
HIM
137
..
.FLASHING
its
BRIGHTS...ON
and
OFF...ON
and
OFF...
ON
THE
BLOND
MAN
1372
...suddenly
KNOWING...and
we
WATCH...as
his
EYES
glance
up
at...
THE
STOP
LIGHT
-
RED...
ON
THE
MAN
137¢
-
.+.clearly
panicked...giving
the
car
some
gas...shoving
the...
GEAR
SHIFT
-
’
1371
d‘
/
...into
DRIVE...and...
ON
THE
FIAT
...as
it
SUDDENLY
PEELS
RUBBER
off
its
mark...tearing
through
the
opposing
traffic
at
the
intersection
as...
AN
EARTHMOVER
137F
...backs
out
of
a
nighttime
construction
site...its
red
lights
blinking...
THE
FIAT
137¢
...racing
down
the
road...the
Cadillac
hot
on
its
tail...
THE
BLOND
MAN
137
...looking
up
and
realizing...
54
REV.
10-4-84
45
OUT
THE
WINDSHIELD
*1371
...that
the
construction
vehicles
have
temporarily
made
it
impossible
to
pass...and...
OMIT
138-140
55
REV.
10-4-84
THE
FIAT
141
...SQUEALS
to
a
STOP.
And
then...a
MOMENT
LATER...from
out
of
FRAME...A
BLACK
CADILLAC
with
tinted
windows
PULLS
UP
ALONGSIDE
of
the
smaller
car.
ANOTHER
ANGLE
142
...as
the
tinted
window
on
the
front
passenger
side
mech-
anically
dissolves
into
the
car
door...revealing
a
well-
groomed,
middle-aged
man...RICHARD
SIMON...who
SMILES
at
the
blond
man
sitting
in
the
FIAT.
SIMON
I
was
wondering
if
I
might
con-
vince
you
to
pull
over
so
that
my
friends
and
I
could
discuss
a
certain
wristwatch
with
you.
.
ON
THE
BLOND
MAN
143
...totally
non-plussed.
He
looks
at
the
Cadillac
for
a
long
moment...then
TURNS...facing
front...as...
SIMON
*
Forgive
me.
1Is
this
conversa-
'
tion
making
you
nervous?
There's
nothing
to
be
nervous...
*
...but
before
Simon
can
complete
his
line...the
blond
man
leans
forward
and
lays
on
his
HORN...its
SOUND
OBLITERATING
*
SIMON.
*
BLOND
MAN
*
(screaming
into
space)
SHUT
UP!!!
ON
SIMON
...waiting...watching...totally
unfazed
by
this
demon-
stration
of
hysterics.
And
SUDDENLY
the
HORN
STOPS...
56
(X)
47-48
CONTINUED
SIMON
(after
a
moment;
patiently)
REV.
10-4-84
I
just
want
to
make
it
clear
that
all
we're
asking
for
is
an
opportunity
to
negotiate
for
the
watch.
I'm
well
aware
that
the
man
you
work
for
wants
it...
THE
EARTHMOVER
...begins
to
move
back
INTO
the
construction
site...
clearing
an
opening
just
large
enough
for...
SIMON
(0.C.)
badly.
All
I'm
asking:
for
is'a
chance
to
talk.
THE
FIAT
...as
it
SUDDENLY
ROARS
from
its
spot
and
begins
BARRELING
down
SUNSET
as...
THE
CADILLAC
That's...
...tries
to
force
its
way
throudh
the
narrow
gap
created
by
the
earthmover
as...
THE
BLOND
MAN
...drives
like
a
madman...his
eyes
darting
up
into
the
rearview
every
few
the
space
behind
him
for...
THE
BIG
BLACK
CAR
.+
.ROARING
FORWARD,
the
small
Fiat
just
five
car
away...and
we...
OMIT
SHOCK
CUT
TO:
143A
143B
143C
143D
143E
143F
144-159
57
TN
S
REV.
10-4-84
49
THE
LADIES'
ROOM
DOOR
...as
it
OPENS
just
a
crack...and
we
SEE
MADDIE.,..her
eyes
darting
around
the
room,
checking
for
stray
Davids.
And
satisfied
there
are
none
about...she
opens
the
door
fur-
ther...finally
venturing
out
into
the
restaurant...starting
to
make
her
way
back
towards
her
table...
DAVID
(0.C.}
Was
it
something
I
said?
...and
she
TURNS
TO
DISCOVER...
DAVID
...standing
there...right
behind
her...
DAVID
I
mean,
I
come
all
the
way
down
here...change
the
underwear...
tie
the
tie...you
have
any
idea
how
much
it
costs
to
park
in
this
place?...and@
you
won't
even
talk
to
me?
ON
MADDIE
...and
she
STOPS...and
she
looks
at
him...
MADDIE
Talk.
DAVID
(going
for
it)
Listen.
I
understand.
You
have
financial
problems.
But
that's
no
reason
to
shut
us
down.
MADDIE
Oh
no?
Do
you
have
any
idea
how
much
money
you
lost
last
year?
DAVID
That's
because
we
were
supposed
to
lose
money.
It
was
our
Jjob
to
lose
money.
And
we
lost
money
-
great.
Now...you
turn
around
and
say
"make
money"...and
we're
going
to
make
money
great.
159.
1591
159¢
58
CONTINUED
49A
MADDIE
(starting
off
again)
This
is
a
ridiculous
conversation.
DAVID
(following
her)
I
happen
to
be
a
terrific
private
detective.
MADDIE
«
(turning
to
him)
There
is
-absolutely
nothing
in
your
work
record
to
indicate
that.
DAVID
Well
I
have
extraordinary
cred-’
entials
and
a
tremendous
depth
of
experience.
Let's
talk
about
Yale...Let's
talk
about
Princeton.
MADDIE
What
about
Yale
and
Princeton?
REV.
10-4-84
159
59
CONTINUED
ANOTHER
ANGLE
(X)
50
DAVID
"What
about
Yale
and
Princeton"
is
right.
Let's
talk
about
government
training.
Let's
talk
about
Vietnam.
MADDIE
You
were
in
Vietnam?
DAVID
I
could
have
been.
I
came
very
close.
Don't
you
see...all
I
need
is
one
case.
One
real
case.
And
with
your
name
and
reputation...
you're
a
celebrity.
With
you...
I
could
get
that
case.
Then
we'd
both
have
what
we
want.
Maddie!l
(0.C.)
they
both
TURN
to
DISCOVER...
SPELNER
Just
awful
news.
There's
a
medical
emergency
and
I'm
going
to
have
to...
(suddenly
noticing
David)
DAVID
(offering
his
hand)
David
Addison.
a
business
associate
of
Ms.
Hayes.
Small
world
isn't
it?
I'm
here
with
the
wife
and
kids
celebrating
Patty
getting
her
braces
removed...
...and
he
turns
and
waves
at...
159¢
1591
60
A
FAMILY
FAVORING
DAVID
REV.
10-4-84
51
...sitting
and
eating
their
meal...clearly
puzzled
by
this...
...all
SMILES...
DAVID
(CONT'D)
I
was
going
to
say
"Hey...let's
see
if
we
can't
push
a
couple
of
tables
together
and
get
to
know
each
other...but...it
sounds
like
you
have
to
go,
huh
Doc?
SPELNER
I'm
afraid
so...
(turning
to
Maddie)
I
feel
badly
leaving
you
like
this...but...
(a
nervous
SMILE
to
David)
...you
seem
to
be
in
good
hands.
DAVID
The
best.
MADDIE
(clutching
Spelner's
arm)
Let
me
come
with
you!
SPELNER
(enjoying
this)
I
know.
We
were
really
begin-
ning
to
hit
it
off...weren't
we?
(and
then)
I've
already
paid
the
Captain.
Why
don't
you
sit
with
your
friend
and
enjoy
your
dinner.
(and
then)
I'll
call
you
tomorrow.
MADDIE
(defeated)
I'm
sure
you
will.
...and
Spelner
TURNS...and
walks
out...
DAVID
(watching
him
go)
Lovely
man.
Where
were
we?
159t
61
REV.
10-4-84
52
FAVORING
MADDIE
...not
about
to
put
up
with
more
of
this...heading
back
towards
the
table...
MADDIE
You
were
fired...
(grabbing
her
sweater
off
of
her
seat)
...and
I
was
leaving.
DAVID
(right
behind
her)
I'm
sorry
to
hear
you
say
that.
I
think
we
would
have
made
a
terrific
team.
...and
she
TURNS
without
answering...although
it
is
hard
-
to
miss
the
way
she
ROLLS
HER
EYES...and
STARTS
TOWARDS...
OMIT
THE
HAT-CHECK
...unattended.
No
hat-check
girl
in
sight.
DAVID
Nobody's
home...
MADDIE
~
(a
backward
glance)
That
seems
to
be
going
around.
...and
as
they
wait...we...
SHOCK
CUT
TO:
OMIT
ON
THE
BLOND
...as
he
glances
up
into
the
rearview...still
unable
to
lose
the
bigger
car...and
then
SUDDENLY
looking
forward...
his
eyes
growing
with
SURPRISE
AS...
159G
159H
*1591
160-168
169
62
REV.
10-4-84
O
2
OUT
THE
WINDSHIELD
-
THE
BLOND'S
P.O.V.
170
...RED
LIGHTS
BLINK
seven
car
lengths
ahead...
ANOTHER
ANGLE
171
...toc
REVEAL
CEMENT
HIGHWAY
STATIONS
right
in
the
center
of
the
road...indicating
a
CONSTRUCTION
ZONE...
ON
THE
FIAT
172
...having
no
place
to
go...TURNING
WILDLY
and...
ANOTHER
ANGLE
173
onto
the
sidewalk...MOWING
DOWN
garbage
pails
and
newspaper
machines...FORCING
PEOPLE
to
RUN
out
of
its
path...and
in
the
mnear
distance
we
can‘'still
SEE
the
CADILLAC...FOLLOWING
the
exact
same
path...
'
.
THE
FIAT
174
...as
it
races
along
the
sidewalk...the
blond
man
SEEING
SOMETHING.
..TURNING
HARD...into...
INT.
AN
UNDERGROUND
GARAGE
175
...0ff
the
sidewalk...and
the
car
quickly
barrels
down
the
LONG
CIRCULAR
DRIVEWAY
TOWARDS...
THE
BANK
OF
TICKET
MACHINES
176
...their
long
red
and
white
arms
down
to
prevent
traffic
from
continuing
without
a
ticket.
And
SUDDENLY...the
Fiat
through...SMASHING
an
arm.
.
OMIT
177-178
THE
PASSAGE
TO
THE
ESCALATORS
179
N
...as
the
FIAT
comes
ROARING
UP
TO
IT.
And
the
car
door
flies
open...and
the
blond
man
JUMPS
OUT...
63
REV.
10-4-84
(X)
52B-C
FOLLOWING
HIM
180
...as
he
dashes
INTO
THE
PASSAGEWAY
and
LEAPS
onto...
THE
ESCALATOR
181
...taking
the
moving
steps
TWO
AT
A
TIME...glancing
ever
so
slightly
over
his
shoulder
to
be
sure
that
no
one
is
there.
ON
THE
BLOND
MAN
182
...reaching
the
TOP:of
one
escalator...JUMPING
OFF
and
around
the
corner
and
LEAPING
ONTO
ANOTHER...his
breath
hard...his
face
pale
and
painted
with
FEAR...and
he
rides
up
and
UP
and
U
P...finally
finding
himself
at
the
top
of
the
stairway...stepping
off
and
around
a
corner
to
DISCOVER...
INT.
THE
BONAVENTURE
LOBBY
183
...that
he
is
in
the
LOBBY
of
this
huge,
super-modern
hotel,
filled
with
conventioneers
and
visiting
out-of-
towners
making
their
way
in
and
out
of
the
place...seated
at
the
small
lounges
that
surround
it...gazing
into
the
windows
of
the
small
shops
that
line
the
perimeter...
ON
THE
BLOND
MAN
183a
...standing
there...BREATHING
HARD...amazed
at
where
he
has
found
himself...and
then
NOTICING...
ONE
OF
THE
HOTEL
ENTRANCES
183B
...SIMON
and
SEVERAL
OTHER
MEN
trotting
into
the
HOTEL...
FOLLOWING
THE
MEN
183C
...as
they
peel
off
and
each
take
an
entrance...
OMIT
183D-1832
64
ANOTHER
ANGLE
REV.
10-4-84
(X)
53
ON
THE
BLOND
MAN
...noticing...
THE
OPPOSITE
WALL
...a
bank
of
elevators.
And
we
hear
the
DING
of
a
bell
and
one
of
ELEVATOR
DOORS
...0pen...just
sitting
there...
ON
THE
BLOND
MAN
..smaking
up
his
mind...and...
...effortlessly
moves
forward
towards
the
elevator
and...
183a
183DI
183El
65
REV.
10-4-84
54
ANOTHER
ANGLE
*183FF
|
...STEPS
INSIDE...quickly
presses
a
floor
button
and
makes
his
way
all
the
way
to
the
back
of
the
elevator...a
modern,
glass
affair
that
climbs
up
the
side
of
the
building
and
|
looks
out
over
nighttime
Los
Angeles...and
after
a
MOMENT
|
the
elevator
doors
CLOSE.
TIGHT
ON
THE
BLOND
187*
...as
he
breathes
a
SMALL
SIGH
OF
RELIEF...convinced
he
!
has
given
them
the
slip.
And
the
ELEVATOR
STOPS
at
a
i
floor...the
DOOR
OPENING...SEVERAL
PEOPLE
making
their
way
IN.
And
AFTER
A
MOMENT...the
elevator
STARTS
to
CLIMB
AGAIN.
And
the
blond
man
TURNS...and
£6r
the
first
time...really
takes
in
the
INCREDIBLE
VIEW.
And
we
can't
help
but
notice...just
OVER
HIS
SHOULDER...ANOTHER
ELEVATOR...
and
in
that
elevator...pressed
against
the
glass...SIMON.
'
ANOTHER
ANGLE
188
...as
the
ELEVATOR.once
again
STOPS.
And
several
people
move
to
EXIT.
And
the
blond
man
moves
with
them...making
his
way
out
of
the
car
and
into...
THE
HALL
189
...and
as
he
STEPS
OUT
INTO
the
HALL
he
can't
help
but
notice
that
the
ELEVATOR
in
the
next
bank
has
ARRIVED
as
well...and
the
first
person
to
disembark
is...
SIMON
190
...who
is
STANDING
in
the
HALLWAY
and
SMILING
at...
THE
BLOND
MAN
:
191
FREEZES
in
his
tracks...but
only
for
a
moment...
TURNING
QUICKLY...sticking
his
hand
into
the
CLOSING
ELEVATOR
DOORS...CATCHING
his
elevator
just
as
it
is
about
to
leave...FORCING
the
doors
APART
and
THROWING
into
the
now
EMPTY
ELEVATOR...
ANOTHER
ANGLE
192
...and
we
WATCH...as
the
blond
man
TURNS...and
SEES
through
the
ELEVATOR
GLASS...
66
REV.
10-4-84
55
THE
OTHER
ELEVATOR
193
...RISING
along
with
his...SIMON
NODDING
at
him
through
the
glass...
ON
THE
BLOND
MAN
194
...as
he
begins
to
PRESS
BUTTONS...FRANTICALLY
trying
to
make
the
machine
GO
DOWN
instead
of
UP...and
we...
SHOCK
CUT
TO:
OMIT
:
THE
RESTAURANT
ELEVATORS
*194C
.
Maddie...now
carrying
her
them...
David
right
behind
her...
DAVID
Maybe
you
want
to
take
the
night
and
think
about
it?
MADDIE
Ha!
ON
MADDIE
.
:
*194D
...TURNING...pressing
the
CALL
BUTTON
FRANTICALLY...David
LOOKING
ON...AMUSED...
DAVID
Give
it
a
chance.
We're
a
long
way
up.
You
really
want
to
get
away
from
me
all
that
bad?
MADDIE
You
can't
begin
to
know.
(to
David)
-
What's
so
funny?
DAVID
(taking
her
hand
off
the
button)
You.
You
need
me,
Maddie
Hayes.
67
N
CONTINUED
(X)
552
MADDIE
(taking
back
her
hand)
I
need
you
to
leave.
DAVID
You
need
me
to
live,
Lady.
You
are
one,
cold,
icy
broad.
You
got
your
nose
so
high
in
the
air
it's
snowing
on
your
brain.
REV.
10-4-84
194D
68
REV.
10-4-84
(X)
56
CONTINUED
MADDIE
You're
a
helluva
salesman,
Addison.
DAVID
You
need
somebody
like
me
around.
I'm
fun,
Maddie
Hayes.
When
was
the
last
time
you
had
fun?
MADDIE
I
have
lots
of
fun.
Tons
of
fun.
DAVID
wWith
who?
The
"Plain
Wrap"
poster
boy
you
were
with
tonight?
(taking
her
hand)
«
Did
I
mention
that
this
is
a
limited
time
offer?
:
MADDIE
(snatching
it
back)
Leave...me...alone!
You
hear
me?
I
don't
want
to
be
a
detective
with
you.
I
don't
want
to
have
fun
with
you.
And
I
don't
want
to
talk
with
you.
...and
with
that
she
gives
the
CALL
BUTTON
one
more
stab
and
TURNS...her
back
to
him...
DAVID
(after
a
long
moment)
Hey...I
can
take
a
hint.
...and
he
gives
the
CALL
BUTTON
one
more
shot...and
we...
SHOCK
CUT
TO:
194D
69
T)
.
.
57
TIGHT
ON
THE
BLOND
MAN
194B
...still
PRESSING
FLOOR
BUTTONS...and...
ANOTHER
ANGLE
195
...as
the
ARRIVAL
BELL
RINGS...and
he
JUMPS
with
a
START...
and
the
doors
SLIDE
OPEN...and
he
TURNS...
THE
BLOND
MAN'S
P.O.V.
196
...to
SEE
that
the
OTHER
ELEVATOR
HAS
STOPPED
AS
WELL...
and
is
EMPTY.
ON
THE
BLOND
MAN
.
197
...not
sure
whether
to
get
or
AGAIN
to
SEE
.
.
R
THE
OTHER
ELEVATOR
198
...has
just
STARTED
DOWN...
ON
THE
BLOND
MAN
199
...not
knowing
what
to
do...STARING
STRAIGHT
AHEAD
at...
THE
ELEVATOR
DOORS
.
20C
...WIDE
OPEN...looking
out
into
the
hall.
No
one...
NOTHING
THERE.
ON
THE
BLOND
MAN
201
...staying
in
the
elevator...WAITING...WA
I
T
I
N
G...
W
A
I
T
I
N
G...for
someone
to
either
appear
in
the
doorway
or
for...
SHOCK
CUT
TO:
MADDIE
AND
DAVID
201A
waiting
for
the
elevator...her
back
to
him...
70
58
CONTINUED
2012
no
words
passing
between
them...as
if
total
strangers...
and
SUDDENLY...the
arrival
bell
DINGS...
ANOTHER
ANGLE
201E
...as
the
two
of
them
TURN...and
move
ever
so
slightly...
planting
themselves
in
FRONT
OF...
THE
ELEVATOR
DOORS
201C
...which
SLIDE
OPEN...and
there...STANDING
SQUARELY
.IN
THE
CENTER
of
the
DOORS
is
the
BLOND
MAN...an
unusually
GLAZED
look
in
his
eye...
MADDIE
(after
moment;:
waiting
for
the
BLOND
MAN
to
step
out)
Excuse
me...
...but
the
man
DOESN't
MOVE...just
STANDS
THERE
and...
TIGHTER
ON
THE
BLOND
MAN
201I-
...as
he
OPENS
HIS
MOUTH
and
pulls
out
the
WRISTWATCH...
ON
DAVID
AND
MADDIE
2011
...watching
this...
DAVID
(slowly;
"
never
taking
his
eyes
off
the
blond
man)
We're
talking
major
weird
here.
ANOTHER
ANGLE
201:
...as
the
blond
man
takes
the
watch
and
moves
to
place
it
around
Maddie's
wrist...
71
.
CONTINUED
201F
MADDIE
(terrified;
trying
to
be
)
polite)
No
thank
you.
Really.
No
thank
you.
b
DAVID
There's
got
to
be
cooties
the
|
size
of
oysters
on
that
thing.
)
MADDIE
)
(backing
away)
It's
very
sweet...but
really...
no
thank
you.
TIGHT
ON
A
.MENU.
.
.
201G
...as
it
is
LOWERED
OUT
OF
FRARME
and
we
SEE
the
face
of
)
li—)
HEINZ...SPOTTING
the
BLOND
MAN...RISING
from
his
table...
HEINZ'S
P.0O.V.
201H
!
...as
the
blond
man
SLIPS
the
BAND
OVER
Maddie's
WRIST...
TIGHT
ON
THE
BLOND
MAN
.
2011
...standing
there...saying
nothing...beginning
to
WEAVE...
ANOTHER
ANGLE
...as
the
two
of
them
stand
there
and
watch...
MADDIE
(scared;
.
moving
closer
to
David)
Addison...?
Addison?
Why
is
he
doing
that?
DAVID
Gravity.
72
N
60
CONTINUED
...and
SUDDENLY
the
blond
man's
body
PITCHES
FORWARD...
and
like
a
STIFF
BOARD
OF
WOOD...falls
to
the
ground...
and
we
can't
help
but
notice
the
knife
in
his
back...
the
handle
sticking
straight
up
in
the
air.
ON
MADDIE
...as
she
screams
a
GUT-WRENCHING
SCREAM.
ON
DAVID
...looking
at
the
body
on
the
ground
for
a
long
moment...
and
then...
DAVID
Boy..:that's
got
to
hurt...fal-
ling
on
your
nose
like
that.
ANOTHER
ANGLE
...as
people...hearing
the
RUSH
TOWARDS
THEM...Heinz
trying
desperately
to
get
to
them...but
his
OLD
BODY
being
PUSHED
and
JOSTLED...
ANOTHER
ANGLE
...as
the
people
begin
to
descend
on
Maddie
and
David...
and
the
scene
becomes
CHAOS...and
the
two
of
them
share
a
glance
of
both
confusion
and
terror.
And
as
they
do...we...
CUT
TO
BLACK
END
OF
ACT
TWO
201K
201L
201M
201N
73
.
—
REV.
9-19-84
ACT
THREE
FADE
IN:
A
LIGHTBULB
*241
+..SUDDENLY
LIT...a
single
bulb
in
an
old-fashioned,
desk-
top,
goose-neck
lamp.
ON
DAVID
242
...as
he
puts
his
hand
in
front
of
his
eyes
to
protect
them
from
the
light...
.
DAVID
Wooo!
Didn't
realize
you
guys
were
going
to
take
x-rays...
ANOTHER
ANGLE
,
243
...to
REVEAL
that
three
POLICE
TYPES
in
shirtsleeves
are
circling
David
who
sits
in
a
simple
wooden
chair
in
the
center
of
this
DETECTIVE'S
OFFICE.
*
INVESTIGATOR
#1
So
you
say
you
never
met
-this
fellow...Klaus
Gunter
before
this
evening?
ON
DAVID
,
244
...as
he
pulls
a
pair
of
sunglasses
out
of
his
breast
pocket
and
slips
them
on...
DAVID
Nope.
ANOTHER
ANGLE
.
245
...as
one
of
the
investigators
snatches
the
glasses
off
of
David's
nose
and
throws
them
OUT
OF
FRAME.
-
INVESTIGATOR
#1
(handing
him
a
photograph)
You
ever
heard
of
Jonathan
Kaplan?
74
62
CONTINUED
DAVID
(looking
at
the
picture)
Who
he?
INVESTIGATOR
#2
Died
this
morning
in
a
traffic
accident.
Your
friend
Gunter
was
the
only
witness.
DAVID
He
was
not
my
friend.
It
was
just
a
casual
thing.
BHe
was
lonely.
I
was
on
shore
leave.
The
elevator
door
opened
and
he
threw
himself
at
my
feet.
Happens
to
me
all
the
time.
#2
And
you
have
no
idea
how
the
knife
got
in
his
back?
DAVID
Oh...I
suppose
somebody
had
to
put
it
there.
INVESTIGATOR
#1
Just
answer
the
gquestion.
DAVID
And
if
I
don't?
...and
no
one
says
anything
for
a
moment
as
the
inves-
tigators
EXCHANGE
GLANCES.
DAVID
(CONT'D)
This
is
America,
you
know.
I
am
entitled
to
a
phone
call,
am
I
not?
INVESTIGATOR
#1
(grudgingly;
pointing
to
it)
Phone's
right
there.
ON
DAVID
...as
he
smugly
pulls
his
chair
out
from
under
himself
and
walks
slowly
across
the
room
to
the
phone...picks
up
the
receiver
and
starts
to
dial...
245
246
75
CONTINUED
63
DAVID
(as
he
waits
for
the
line
to
be
answered)
What
do
you
guys
like
on
your
pizza?
:
ON
THE
INVESTIGATORS
...as
they
exchange
glances
once
more...they've
never
seen
one
like
this
in
captivity.
ON
DAVID
...5till
waiting
for
a
reply...
...and
we...
MADDIE
...staring
at
the
floor...as
she
sits
on
a
wooden
bench
in
a
CORRIDOR
just
outside
the
INTERROGATION
ROOM...her
And
we
PULL
BACK
QUICKLY
to
REVEAL
the
INTERROGATION
ROOM
DOOR
OPENING...and
David
and
the
three
investigators
come
strolling
out...each
chewing
on
a
slice
of
pizza...all
of
them
wearing
big
smiles...
face
taut
with
concern.
DAVID
Guys.
1It's
okay.
1It's
on
me.
SHOCK
CUT
TO:
i
INVESTIGATOR
#2
(leaning
down
to
Maddie)
Miss
Hayes?
1If
you'll
just
step
inside...we'd
like
to
ask
you
a
few
questions
now.
DAVID
(leaning
down
to
tell
her
as
well)
Nothing
to
it.
A
real
bunch
of
pussycats.
I
told
them
you
were
my
partner
so
they'd
go
eas...
246
247
248
249
76
ON
MADDIE
64
...leaping
up
from
her
seat...going
after
him
with
her
purse.
MADDIE
I
am
not
your
partner!
(to
the
others)
I
am
not
his
partner!
don't
know
this
man.
I
don't
like
this
man.
I
would
greatly
appreciate
it
if
you
would
lock
this
man
up!
ANOTHER
ANGLE
...as
DAVID
GRABS
HER
PURSE...and
the
three
investigators
descend
on
Maddie...pulling
her
and
her
purse
and
David
apart...calming
her
down
and
pointing
her
towards
the
-
Interrogation
room...
-
DAVID
(as
they
lead
her
off)
We're
not
going
to
hold
that
against
her...are
we
fellas?
Woman's
been
under
a
lot
of
stress.
{(watching
her
go)
Look
at
that
lower
back.
Tense.
Tight.
(and
then)
Kinda
nice
though...
...and
as
Maddie
moves
into
the
Interrogation
room
and
David
stands
studying
her
lower
back...we...
DISSOLVE
TO:
INT.
THE
POLICE
CORRIDOR
-
NIGHT
...and
at
the
far
end
of
the
hall
we
can
see
the
INTER-
ROGATION
ROOM
DOOR
OPEN...and
a
TIRED,
WEARY
MADDIE
make
her
way
out
of
it
and
starts
down
the
long
corridor
TOWARDS
US.
And
we...
250
251
252
77
N
REV.
10-4-84
65
FOLLOW
HER
...making
her
way
TOWARDS
the
large,
double-doored
EXIT
of
the
POLICE
STATION...putting
her
weight
against
them...PUSHING
them
OPEN...SUDDENLY
assaulted
by...
WHITE
LIGHT
...BLINDING.
And
we
don't
quite
know
where
we
are
or
what's
going
on.
And
we
can
SEE
VERY
LITTLE...but
we
can
HEAR...
VOICE
Here
she
comes...let's
roll!
ON
MADDIE
...as
confused
as
we
are...shielding
eyes
her
hand...shifting
slightly...
MADDIE'S
P.O.V.
...and
now
we
can
just
make
out
the
TV
CAMERAS
and
NEWS
PEOPLE
who
stand
in
front
of
the
sun-guns
pointed
right
at
us.
ANOTHER
ANGLE
...a5
a
woman...MARY
HART...
plants
herself
alongside
Maddie...a
microphone
in
her
MARY
Mary
Hart
for
Entertainment
Tonight.
I'm
standing
just
out-
side
a
Los
Angeles
Police
Station
where
"Maddie"
Madolyn
Hayes,
best
known
as
the
Blue
Moon
Shampoo
girl
has
just
been
re-
leased
following
questioning
relating
to
the
apparent
murder
of
Klaus
Gunter
in
a
downtown
restaurant.
(to
Maddie;
thrusting
the
microphone
in
her
face)
I
understand
you're
denying
any
involvement
in
tonight's
mishap?
260
261
262
263
264
78
REV.
10-4-84
/
.
66
CONTINUED
:
264
MADDIE
(totally
flustered;
trying
to
move
'
past
her)
Yes...I...That
light
is
so
bright...
MARY
*
(following
her)}
:
Is
it
true
that
you
and
a
pro-
fessional
investigator
have
formed
a
detective
agency
and
that
your
first
case
will
be
the
unmasking
of
the
person
who
murdered
Klaus
Gunter.
MADDIE
.
.
(stopping;
.
turning
to
her;
truly
startled)
:
What?
What
did
you
say?
MARY
*
)
I
asked
about
the
rumors
that
I
you're
about
to
form
a
detective
agency.
The
Blue
Moon
Agency...
I
believe
that's
the
name
I
heard...
ON
MADDIE
265
...and
she
SAYS
NOTHING...just
LOOKS
at
Hart
for
the
*
longest
time...and
then
begins
to
scan
the
crowd...and
then...
MADDIE'S
P.O.V.
266
.
...SHE
SEES
HIM...behind
one
of
the
TV
CAMERAS...David...
and
he
gives
her
a
small
wave...
(0.C.)
*
Would
you
care
to
make
a
state-
ment?
ON
MADDIE
267
++.livid.
And
she
starts
to
move
forward...past
Mary...
*
towards
David...
79
REV.
10-4-84
67
CONTINUED
MADDIE
(over
her
shoulder;
to
Mary)
Stick
around.
I
think
there's
going
to
be
another
murder!
ON
DAVID
...as
he
realizes
what
is
about
to
happen...and
quickly
cups
his
hands
around
his
mouth
and...
DAVID
People?
Let's
cut.
Print.
Ship.
That's
a
wrap.
Let's
take
ten.
Really.
Thank
you.
You're
beautiful.
Don't
ever
shave.
.
.-
'
.
:
.~
...and
she
is
almost
there...on
top
of
him...and
he
turns
and
starts
to
RUN...
EXT.
THE
STREET
-
NIGHT
...as
David
races
down
it...Maddie
right
behind
him...
MADDIE
(calling
to
him)
Addison!...
.
ANOTHER
ANGLE
...as
he
TURNS
and
RUNS
INTO...
INT.
AN
UNDERGROUND
GARAGE
-
NIGHT
.
...and
DASHES
behind
a
parked
car...but
not
before
Maddie
SEES
where
he
is...
MADDIE
(stopping;
breathing
hard;
calling
to
him)
Addison!...
267
268
269
270
80
REV.
9-19-84
(X)
67A
CONTINUED
271
DAVID
(calling
from
where
he
is
crouched)
He's
not
in
here!
81
REV.
10-4-84
68
CONTINUED
271
MADDIE
Addison...I
want
you
out
of
my
life!
Do
you
hear
me?
DAVID
(peering
over
the
top
of
the
car)
Now
let's
not
say
things
we
don't
mean.
.
MADDIE
I
mean
it!
Out
of
my
life!
DAVID
(standing
up)
One
little
television
crew.
.
That's.what
all
fuss
is
about...right?
One
little
°
.
television
crew.
Have
you
ever
seen
the
show,
huh?
Very
nice.
Very
tasteful.
All
the
*
stars
are
on
there.
MADDIE
A
man
died!
He
was
murdered!
Right
in
front
of
me!
ANOTHER
ANGLE
’
:
272
...as
the
two
of
them
stand
there...and
the
meaning
of
what
she's
saying
sinks
in...and
David
comes
out
from
behind
the
car...and
walks
over
to
her...
DAVID
(finally)
You're
right.
You're
one-hun-
dred
and
fifty
percent
right.
I
wasn't
thinking
of
you...or
the
way
you
felt.
I
was
think~
ing
about
me.
About
how
to
maximize
the
situation
for
my
own
good.
Dumb.
Very
dumb.
And
I'm
very
sorry.
...and
he
waits...for
her
to
say
something...anything.
But
nothing
is
forthcoming.
82
69
CONTINUED
272
DAVID
(clearing
his
throat)
I'm
going
to
go
now.
Out
of
this
garage.
Out
of
your
life.
(waiting
a
moment;
and
then)
Here
I
go.
MADDIE
*
Good-bye.
...and
he
turns...and
starts
out
of
the
garage...about
ten
yards...and
then
he
turns
around
to
face
her
again...
DAVID
This'
is
me
gaqing.
MADDIE
*
Good.
...and
he
turns
again...goes
another
ten
yards...and
turns
back
one
more
time...
DAVID
Good-bye.
MADDIE
*
Good-bye!
...and
with
that
he
TURNS...and
WALKS
OUT
OF
THE
GARAGE...
ON
MADDIE
273
...as
she
LOOKS
UP
to
SEE
that
HE
IS
INDEED
GONE...
ANOTHER
ANGLE
274
...and
begins
walking...SLOWLY...towards...
A
PAY
PHONE
2742
...that
hangs
Maddie
PULLS
THE
RECEIVER
off
the
hook
and
quickly
dials
"4-1-1-"...
on
the
wall
just
next
to
the
exit.
And
83
REV.
10-4-84
(X)
69A-B
CONTINUED
MADDIE
Yes...could
I
please
have
the
number
of
Imperial
Taxi
Ser...
ANOTHER
ANGLE
...as
a
RED
PORSCHE
comes
SCREAMING
into
the
garage...
down
to
the
end...hanging
a
LOUD
and
FAST
U-TURN...and
then
BARRELLING
BACK
TOWARDS...
OMIT
)
MADDIE
...terrified...
274A
-
274B
275
276
84
REV.
9-19-84
70
ANOTHER
ANGLE
...as
the
car
SCREECHES
to
A
STOP
just
YARDS
in
front
of
her...and
the
driver's
door
flies
open
and
there
sits...
DAVID
jumps
out...
DAVID
Before
you
jump
to
conclusions...
this
is
really
your
car...not
my
car.
I
am
out
of
your
life.
...and
he
indicates
that
she
seat
herself
in
the
car...
ANOTHER
ANGLE
...as
she
does
so...David
holding
open
the
car
door
dutifully...
DAVID
Didn't
want
to
see
you
stranded
here
in
the
middle
of
nowhere...
...and
with
that
he
slams
the
door
closed...
DAVID
Of
course
now...I'm
stranded
here
in
the
middle
of
nowhere.
MADDIE
(without
feeling;
moving
over)
Get
in.
DAVID
(ripping
open
the
car
door;
.
jumping
in)
-
I
love
it
when
you
beg.
...and
he
closes
it
with
a
BANG...and
with
another
SCREECH
of
the
tires...the
car
is
out
the
garage
door
and
we...
DISSOLVE
TO:
278
279
85
REV.
10-4-84
71
EXT.
MADDIE'S
MANSION
280
...as
the
Porsche
PULLS
UP
and
into
the
circular
driveway...
INT.
THE
PORSCHE
281
...as
Maddie
moves
for
the
door...
MADDIE
(coolly
and
with-
out
looking
at
him)
Thank
you
again
for
the
ride
Mr.
Addison.
It
was
very
thought-
*
ful
of
you.
Feel
free
to
use
*
the
car
to
drive
home.
1I'll
*
have
someone
pick
it
up
in
the
*
morning.
*
*DAVID
.
.
Of
course.
*
...and
Maddie
STEPS
OUT
OF
THE
CAR...and
we
HOLD
for
a
MOMENT...and
then
David
kills
the
engine
and
he
too
gets
out
of
the
car...
EXT.
THE
DOOR
TO
MADDIE'S
HOUSE
282
...as
she
steps
up
to
it
with
her
key
withdrawn...pulls
a
NOTICE
OF
BANK
SALE
from
the
door...and
AFTER
A
MO-
MENT...David
STEPS
INTO
FRAME
BEHIND
HER...
MADDIE
(sensing
him
there;
turning
to
him)
Mr.
Addison...
DAVID
Miss
Hayes.
I
get
the
feeling
I'm
leaving
you
with
the
wrong
impression
of
me.
MADDIE
Mr.
Addison...don't
think
me
rude...but
I've
had
a
hard
day.
I
woke
up
this
morning
to
find
that
all
my
money
had
been
sto-
len
from
me.
I
went
to
visit
a
business
that
I
own
and
was
called
a
bitch
by
a
person
I'd
never
met
before.
I
went
out
to
dinner
and
got
to
watch
a
man
die
at
my
feet.
Then
I
was
(MORE)
86
T
72
CONTINUED
MADDIE
(CONT'D)
driven
downtown
to
be
questioned
by
police.
1I've
had
TV
cameras
and
microphones,
not
to
mention
the
likes
of
you
poked
in
my
.face...so
forgive
me...but
I'd
like
to
go
into
my
own
house...
alone...and
take
about
forty-
five
sleeping
pills.
I
hope
you
understand.
1It's
nothing
personal.
I
just
hate
you.
DAVID
I
respect
you
so
much
for
ling
me
that.
.
MADDIE
.
Great.
.
Beat
...and
she
TURNS...and
INSERTS
her
KEY
in
the
door
lock
and...
INT.
THE
HOUSE
...as
she
comes
through
the
door
and
SWITCHES
ON
THE
LIGHT...David
three
steps
behind
her...and
MADDIE
GASPS.
REVERSE
ANGLE
...to
REVEAL
a
STILETTO
pressed
against
the
flesh
of
her
neck...and
a
MAN
standing
behind
David.
DAVID
(to
Maddie)
Hey...wanna
hear
something
weird?
There's
a
guy
back
here
pressing
the
barrel
of
a
gun
into
the
small
of
my
back.
...and
SUDDENLY
the
man's
gun
is
UP...and
he
SMASHES
the
BUTT
of
it
into...
DAVID'S
BACK
...and
we
HEAR
the
WIND
being
KNOCKED
OUT
of
him...as
his
body
HITS...
282
283
2831
87
|
|
|
]
REV.
10-4-84
73
THE
FLOOR
...and
the
man
presses
the
toe
of
his
shoe
onto
David's
shoulder...cocks
his
gun
and
holds
it
inches
from
the
top
of
David's
head...
DAVID
(simply)
Gulp.
.
ON
MADDIE
...and
we
can't
help
but
notice
the
way
her
FLESH
.is
QUIVERING
with
fear
against
the
blade
being
held
to
her
throat.
And
we
MOVE
slightly
to
REVEAL
that
the
man
holding
the
STILETTO
is
SIMON.
-And
we...
FADE
TO
BLACK
.
END
OF
ACT
THREE
283C
283D
*
*
88
—————
2N
N
REV.
10-4-84
ACT
FOUR
FADE
IN:
TIGHT
ON
AN
OVEN
BURNER
KNOB
...and
a
HAND
reaches
INTO
FRAME
and
TURNS
the
KNOB
"ON"...
ANOTHER
ANGLE
...and
we
SEE
SIMON
pass
his
hand
over
the
burner...and
his
face
tells
us
that
it
is
indeed
HEATING
UP.
And
he
TURNS...and
makes
his
way
back
out
of
MADDIE'S
KITCHEN
and
into...
INT.
MADDIE'S
LIVING
ROOM
...where
David
and
Maddie
SIT
on
a
SOFA...David
rubbing
his
forehead
where
it
struck
the
floor...Maddie
looking
much
the
worse,
for
wear...her
face
painted
with
fear.
"
as
SIMON
enters
the
room
we
FOLLOW
HIM,..watching
while
he
PEELS
OFF
HIS
SPORTSJACKET
and
places
it
fas-
tidiously
over
the
back
of
a
chair...throwing
a
NOD
at...
HIS
PARTNER
...who
sits
across
from
Maddie
and
David...his
pistol
trained
on
the
two
of
thenm.
ANOTHER
ANGLE
...as
SIMON
ROLLS
UP
HIS
SLEEVES
and
LOOSENS
HIS
TIE,
pacing
up
and
down
in
front
of
Maddie
and
David...very
much
a
performer...
SIMON
{quickly;
coolly;
glancing
at
them
only
occasionally)
I
think
it
will
speed
things
along
considerably
if
you
know
who
I
am
and
what
I'm
about.
I'm...a
businessman.
Just
like
the
corner
grocer
or
the
fellow
who
owns
the
local
car
dealership.
(MORE)
284
285
286
287
288
*
89
REV.
(X)
(‘”'\;,
.
75
CONTINUED
SIMON
(CONT'D)
I'm
interested
solely
in
my
bottom
line.
And
just
like
the
corner
grocer
or
the
fellow
who
owns
the
local
car
dealership
I'll
do
anything
to
protect
that
bottom
line.
You
with
me
so
far?
-
And
tonight...my
bottom
line
hinges
on
getting
the
truth
from
out
of
the
two
of
you.
MADDIE
The
truth
about
what?
SIMON
(turning;
looking
at
them
..
.
.
.
.
.
.
:
About
a
wristwatch.
I'm
told
that
a
certain
wristwatch
ac-
,C—j
cidentally
fell
into
your
hands.
e
You
should
know
that
there
are
a
number
of
people
who
want
that
wristwatch
very
badly.
Who
are
willing
to
kill
to
get
it.
1It's
your
good
fortune
that
we
met
first.
You
can
give
me
the
watch
and
be
spared
any
additional
discomfort.
MADDIE
(after
a
moment)
But
we
don't
have
it.
I
gave
it
to
the
police.
SIMON
And...?
MADDIE
.
No
"and...".
That's
it.
I
gave
it
to
the
police.
...and
SIMON
SMILES...
ON
DAVID
...as
his
eyes
wander
from
the
couch
to...
10-4-84
288
289
90
76
THE
FIREPLACE
REV.
10-4-84
...and
NEXT
TO
IT...a
holder
with
FIREPLACE
TOOLS...a
poker...a
broom...a
log
lifter...
MADDIE
(0.C.)
What's
so
funny?
SIMON
(0.C.)
What's
so
funny
is...
ANOTHER
ANGLE
...as
SIMON
walks
over
to
Maddie...
-
SIMON
(CONT'D)
...I
almost
believe
you.
MADDIE
Why-
is
funny?
You
should
believe
me.
I'm
telling
the
truth.
SIMON
-
(turning
to
David)
...80
you
know
why
it's
funny?
ON
DAVID
...as
he
QUICKLY
SHIFTS
his
EYES...from
the
fireplace
equipment...to
SIMON...
DAVID
Because
you
don't
know
what
is
and
isn't
the
truth.
you're
going
to
assume
that
whatever
she
tells
you
is
a
lie.
And
then...you're
going
to
apply...
(searching
for
the
word)
...duress...and
you're
probably
going
to
want
to
keep
applying
it
until
she
changes
her
story.
SIMON
Very
good.
290
291
292
91
-
-~
.I‘/D
REV.
10-4-84
77
CONTINUED
DAVID
I
couldn't
have
done
it
with-
out
your
help.
MADDIE
(panicked)
But
I
really
did
give
it
to
the
police!
ON
SIMON
...as
he
CROUCHES
DOWN
in
front
of
Maddie...
SIMON
(damn
near
a
whisper;
TOUCHING
her
hair)
How
do
I
know
that?
...and
SUDDENLY...
DAVID'S
FOOT
...JAMS
into
the
GUNMAN'S
CHEST...forcing
him
to
DROP
the
gun
while
at
the
VERY
SAME
MOMENT...
THE
FIREPLACE
POKER
...is
PULLED
from
the
fireplace
toocl
holder
and...
DAVID
the
POKER
DOWN
on
the
crouching
SIMON'S
KNEES...
.
SIMON
Aaaaaaah!
DAVID
(to
Maddie)
Get
the
gun!
ON
MADDIE
...as
she
LEAPS
off
her
seat
and
onto...
292
*293
294
295
296
297
92
REV.
10-4-84
78
.
)
THE
FLOOR
298
)
...where
she
and
the
Gunman
wrestle
for
the
pistol
while...
|
)
DAVID
AND
SIMON
*299
AT
EACH
OTHER...their
eyes
locked...David
with
the
poker...Simon
with
nothing
but
a
smile...each
WATCH-
*
ING...STALKING
the
other...waiting
for
A
MOVE...a
FEINT...
as...
)
MADDIE
AND
THE
GUNMAN
300
|
...TUSSLE
on
the
floor
for
the
pistol...and
she
GRABS
it...
and
JUMPS
TO
HER
FEET...and
it's
CLEAR
that
she's
NEVER
HELD
a
GUN
before...
MADDIE
.
What'
do
I:do
now?
i
‘
ON
DAVID
301
j
...locked
in
a
STARE-DOWN
with
SIMON...who
sits
on
the
*
'
floor
ready
to
SPRING...David
standing
above
him
with
the
poker
SLUNG
OVER
his
shoulder
ready
to
SWING...
!
DAVID
(never
taking
his
gaze
off
the
man)
Pull
the
trigger!
*
ON
MADDIE
302
...and
SHE
DOES...
OMIT
302a
ON
THE
GUNMAN
*302B
...as
he
HITS
THE
GROUND
and...
A
CHINA
CABINET
*302C
...explodes
as
a
bullet
hits
it...
93
REV.
10-4-84
-
(X)
]
78a
ANOTHER
ANGLE
302D
...as
SIMON
SUDDENLY
BOLTS
from
where
he's
sitting...
and
DAVID
SWINGS
the
POKER...and
it
comes
CRASHING
DOWN
|
on
a
GLASS
COFFEE
TABLE...SPLITTING
IT
IN
HALF...sending
)
a
SHOWER
of
GLASS
CASCADING
around
them
all.
94
REV.
10-4-84
(X)
.
79
ON
MADDIE
302E
...as
she
closes
her
eyes
and
keeps
firing
and...
A
PAINTING
302F
...gets
shot
off
the
wall...and
SUDDENLY...
-
DAVID
-
302G
...COMES
AROUND
with
the
poker...and
SIMON
DUCKS...the
reflexes
of
a
cat...and
as
the
POKER
SMASHES
an
ORIENTAL
VASE...SIMON
SMILES...
ON
MADDIE
302H
...as
she
once
again
takes
aim
and...
AN
ASHTRAY
3021
.
J
...ricochets
off
a
coffee
table...and
SUDDENLY...
DAVID
3027
«..SWINGS
AGAIN...and
this
time
SIMON
LEAPS
over
the
POKER...much
to
David's
SHOCK
and
AMAZEMENT...
ANOTHER
ANGLE
302K
...as
MADDIE
WATCHES
this...SHIFTING
her
AIM
as
the
Gunman
slowly
moves
TOWARDS
her...and
she
PULLS
the
trigger...
and...
THE
'
302L
.
...dives
for
the
floor...and...
A
LAMPSHADE
302M
...flies
off
a
lamp...as...
95
THE
BOOCKEND
REV.
10-4-84
(X)
79A
ON
DAVID
...his
eyes...his
concentration
RIVETED
to
SIMON
who
stands
across
from
him...
DAVID
(finally)
C'mon,
man.
I'm
doing
all
the
work
here.
What's
your
strategy?
You
trying
to
bore
me
to
death?
ANOTHER
ANGLE
...as
David
switches
the
poker
to
his
left
hand
and
FIRES
A
RIGHT,
right
into
Simon's
abdomen...KNOCKING
THE
wind
out
of
him
and
sending
him
CRASHING
into
the
wall...as...
.
...blasts
off
a
book
shelf
sending
a
of
books
toppling
to
the
floor...
ON
SIMON
...looking
up
from
where
David's
blow
delivered
him...
and
the
smile
completely
DISAPPEARS
from
his
face...and
even
as
he
CLUTCHES
his
STOMACH...his
FOOT
flies
up
and...
ANOTHER
ANGLE
...cleanly
KICKS
the
poker
out
of
David's
hands...as...
STATUE
...peering
up
from
the
floor...a
big
smile
on
his
face...
SIMON
That's
six.
ANOTHER
ANGLE
"
...as
Maddie
continues
to
fire...but
all
we
HEAR
is
the
click
of
the
EMPTY
GUN...
302N
3020
30
302
302R
3028
.
96
REV.
10-4-84
(X)
79B
ON
DAVID
...lo0king
at
her...
DAVID
You
did
it.
You
missed
the
barn.
ON
SIMON
...and
at
that
very
moment
his
OTHER
FOOT
lands
on
DAVID'S
CHEST
sending
him
flying
backwards...across
a
table
and
tumbling
to
the
floor.
302U
302v
97
REV.
10-4-84
80
OMIT
ON
THE
GUNMAN
...seizing
the
moment
to
RUSH
MADDIE
and
tear
the
gun
from
her...
ON
DAVID
...as
he
PULLS
HIMSELF
UP
from
the
heap
he's
in
on
the
floor...just
in
time
to
get
hit
with...
SIMON'S
FISTS
...both
of
them...his
hands
woven
together
as
he
comes
around
with
a
roundhouse
punch
and
catches
David
right
in
the
jaw...which
sends
his
head
crashing
right
back
.
the
walkl...and
his‘body...right
back
,down
onto
the
floor...
ANOTHER
ANGLE
...to
REVEAL
the
gun
back
in
the
GUNMAN'S
HANDS...
pressing
the
last
fresh
bullet
into
the
chamber
and
then
herding
Maddie
towards
David...who
is
lifting
himself
up
off
the
floor...
SIMON
(pulling
his
jacket
back
on)
Now
if
there
are
no
further
objections...why
don't
we
all
adjourn
to
the
kitchen...
ON
DAVID
AND
MADDIE
...as
they
take
the
hint
and
START
OUT
of
the
room...
side
by
side...
303-308
309
310
*311
312
313
98
REV.
10-4-84
81
CONTINUED
MADDIE
How's
your
jaw?
DAVID
Fine.
Just
fine.
(SPITTING
out
a
over
his
shoulder;
to
Simon)
Plenty
more
where
that
came
from.
(and
then)
Just
makes
it
easier
to
floss.
...and
as
they
WALK
OUT
OF
FRAME...we...
THE
BURNER
ON
THE
STOVE
...now
RED
HOT.
And
we
PULL
BACK
TO
REVEAL
David
and
Maddie
sitting
in
chairs...TIED
and
BOUND.
Simon
once
again
PACING
in
front
of
them...his
accomplice
keeping
his
gun
trained
on
them...
SIMON
Now...about
the
watch.
MADDIE
The
man
gave
it
to
me.
He
did.
But
when
the
Police
questioned
me,
I
told
them
about
it
and
they
took
it
from
me.
ON
SIMON
...thinking
about
this...then
TURNING
and
heading
for...
THE
REFRIGERATOR
...digging
through
it
for
a
moment...then
closing
the
door.
SHOCK
CUT
TO:
313
314
*315
316
99
N
"
....watching
this...
REV.
10-4-84
82
ANOTHER
ANGLE
...as
he
returns
to
a
mystified
Maddie
and
David
SIMON
(approaching
the
stove)
...and
he
holds
up
a
slice
of
bologna...which
he
then
releases
and
drops
onto...
THE
BURNER
...and
it
begins
to
FRY...BUBBLE...INSTANTLY
SHRIVELING...
finally
burning...
ON
MADDIE
AND
DAVID
ON
SIMON
them
watching...then
SNAPPING
his
fingers
cueing
the
GUNMAN
to
walk
over
and
grab
David
by
the
back
of
the
neck
and
push
his
head
towards
the
burner...
SIMON
Now
if
we
take
your
friend
here...
and
apply
some...what
did
you
call
it?
Duress?
And
I
ask
again..."where's
the
watch"?
ON
MADDIE
...watching...trying
not
to
lose
her
composure...
MADDIE
I
swear
to
you...I
gave
it
to
the
police!
ON
DAVID
...his
face
just
inches
from
the
burner...and
the
Gunman
trying
to
press
it
closer...
317
318
319
*320
321
322
100
REV.
10-4-84
83
CONTINUED
SIMON
Think
carefully...
DAVID
I'd
like
to
take
this
opportu-
nity
to
initiate
a
discussion
about
fried
foods...
...and
David's
face
gets
closer
to
the
red
hot
burner...
ON
MADDIE
...watching...not
wanting
to...but
having
no
choice...
MADDIE
There
is
no
other
answer!
That's
only
.answer!
1I'll
make
up
something
else
if
you
want
me
to
but
the
truth
is
what
I'm
telling
you!
The
Police
have
the
watch!
S
...and
the
Gunman
keeps
PUSHING
DAVID'S
FACE...his
HAND
SHAKING
with
all
the
resistance
that
David
is
offering...
and
David's
head
shakes...and
he
GRITS
his
TEETH...and
his
face
gets
CLOSER
and
CLOSER
to
the
HOT
RED
SPIRAL
on
top
of
the
stove...
ON
THE
GUNMAN
...putting
all
his
weight
on
the
side
of
David's
face...
PUSHING
it
INTO
and
TOWARDS
the
BURNER...
ON
DAVID
...and@
now
he
can
FEEL
THE
HEAT...and
he
BEGINS
TO
SWEAT...
still
SHAKING...fractions
of
an
inch
from
the
burner...
ON
MADDIE
...tears
POURING
DOWN
HER
FACE
now...
MADDIE
.
I
swear!...I
swear!...The
Po-
lice!...The
Police!...I
swearl...
I
swear!...!
322
323
*324
325
326
101
-
-
REV.
10-4-84
84
CONTINUED
,
SIMON
(coolly)
Enough.
ON
THE
GUNMAN
...as
he
LOOKS
UP..and
he
releases
his
grip
from
David's
neck...BACKING
AWAY...
ON
DAVID
...as
he
LOOKS
UP...and
realizes
he's
getting
a
reprieve...
DAVID
Thank
God...a
vegetarian...
OMIT
ON
SIMON
...s5tanding
there...looking
at
them
both...
SIMON
Alright.
You
say
the
wristwatch
is
with
the
police.
I
have
many
friends
there,
so
that's
certainly
easy
enough
to
check.
If
it's
not
there
however,
I
will
be
back.
And
next
time
I
return
it
won't
be
to
threaten
you.
It'll
be
to
kill
you.
326
*327
328
329
*330
102
A
0
Nt
PP
REV.
.10-4-84
85
CONTINUED
330
...and
with
that
he
TURNS...and
SHUTS
OFF
the
LIGHTS...
and
he
and
the
GUNMAN
DISAPPEAR
out
the
BACK
DOOR...
*
ON
DAVID
AND
MADDIE
331
THERE...tied
to
their
chairs...and
for
the
LONGEST
TIME
there
is
nothing
but
the
SOUND
of
them
both
breathing...the
ONLY
LIGHT
the
moonlight
that
trips
in
through
the
venetian
blinds...
MADDIE
(finally;
a
voice
in
the
darkness)
Addison?
1I've
never
been
so
scared
in
my
life.
Maddie
SUDDENLY
begins
to
JUMP...HOP...PUSHING
her
CHAIR
AROUND
so
that
she
is
BACK
to
BACK
with
him...
DAVID
What
are
you
doing?
MADDIE
I'm
untying
you.
So
you
can
leave.
So
this
night
can
be
over.
So
I
can
go
to
bed
and
wake
up
in
the
morning
and
start
life
all
over
again.
There...
103
;(:j
R
REV.
10-4-84
86
CONTINUED
...and
David's
hands
are
free...and
he
STANDS
UP
from
his
chair...
MADDIE
Now
if
you'll
please
untie
me.
ON
DAVID
...standing
there
in
the
darkness...not
moving...
MADDIE
Please?
DAVID
(clearing
his
throat)
This
might
be
a
good
time
for
you
and
I
to,have
a
little
chat.
MADDIE
Addison...!
Untie
me!
.
Now!
DAVID
No.
I
don't
think
that
would
be
too
smart.
See...It's
not
guite
over.
MADDIE
(she
can
barely
stay
seated)
do
you
mean
"it's
not
gquite
over"!
1It's
all
over!
I
gave
the
watch
to
the
police!
Mr.
‘Simon...whoever
in
the
hell
he
is...will
go
to
the
police...
they'll
give
him
the
watch
and
it
will
all
be
over.
(and
then)
I
gave
them
the
watch.
I
did.
DAVID
(opening
cabinets)
No
you
didn't.
You
have
any
booze
in
the
house?
(finding
a
bottle
of
liguor)
Booze
might
really
help.
331
332
*
*
%
104
=<
REV.
10-4-84
87
CONTINUED
MADDIE
What
do
you
mean
"I
didn't".
I
did!
I
know
I
did.
I
saw
me
do
it.
I
was
there.
ON
DAVID
...as
he
makes
his
way
over
to
the
chair
with
a
shot
glass
of
bourbon...
DAVID
I
want
you
to
take
a
sip
of
this...
...and
he
tries
to
pour
some
between
her
1lips...and
she
SPITS
it
back
out
into
his
face...
.
.
MADDIE
.
I
gave
them
the
dead
man's
watch!
DAVID
(wiping
the
bourbon
from
his
eyes)
No!
As
a
matter
of
fact
you
gave
them
the
watch
my
Mother
gave
me
for
graduating
high
school.
FAVORING
MADDIE
...and
she
just
LOOKS
AT
HIM...SPEECHLESS...not
quite
believing
what
she's
hearing...
.
DAVID
(rising
from
his
crouch)
Switched
watches
when
I
grabbed
your
bag
at
the
Police
Station.
(pulling
it
from
his
pocket)
I
had
it.
I
had
it
all
the
time.
MADDIE
You
maniac...You
almost
got
us
killed!
332
333
334
105
CONTINUED
88
DAVID
Think
again,
Lady.
The
only
thing
keeping
us
alive
is
that
we
know
where
that
watch
is.
And
the
Galloping
Gourmet
doesn't.
MADDIE
I
don't
believe
you.
"One
big
case...that's
all
I
need."
Deny
that
you
said
that.
That's
what
this
is
all
about!
DAVID
Were
you
out
on
a
break.
Didn't
you
see
that
guy
try
to
make
a
skin
omelette
out
of
my
face?
What
do
you
think
he
would
have
done
if
he
had
gotten-the
watch?
*
Let
us
go?
MADDIE
I
don't
believe
you.
You
did
this
so
we'd
have
to
work
together.
DAVID
Are
you
crazy?
I
wanted
you
as
a
partner...sure.
Your
name...
your
money.
Not
YOU!
You
think
I
want
some
blonde
ball
of
fluff
following
me
around
everywhere
I...
MADDIE
(cutting
him
off)
BALL
OF
FLUFF?!
You're
calling
me
a
ball
of
fluff?
You?
The
sissy
fighter?
DAVID
What
did
you
call
me?
MADDIE
A
sissy
fighter.
Oh,
I
wish
you
could
have
seen
yourself.
Didn't
anyone
ever
teach
you
how
to
throw
a
real
punch?
Real
men
don't
punch
like
that.
They
put
their
whole
bodies
into
it.
You...you
punch
with...
(thinking
about
it)
wrists!
REV.
10-4-84
334
*
106
89
CONTINUED
334
DAVID
ENOUGH!
!!
ANOTHER
ANGLE
335
...as
David
once
again
STOOPS
DOWN
to
where
she
is
sit-
ting...looks
her
right
in
the
eye
and...
DAVID
Look...think
what
you
want...
those
guys
are
killers.
And
they're
going
to
come
back.
We
have
to
get
out
of
here.
Now.
Tonight.
MADDIE
I'm
not
goimg.anywhere
with.you.
-
DAVID
You're
not
going
anywhere...
period...until
I
untie
you...
and
I'm
not
going
to
do
that
until
I
know
that
you're
calm
and
that
you
completely
under-
stand
the
situation.
(and
then)
Are
you
calm?
ON
MADDIE
336
...if
looks
could
kill...
DAVID
You
don't
look
very
calm.
MADDIE
I
understand...and
I'm
calm.
DAVID
The
muscles
in
your
face
look
tight.
MADDIE
I'm
calm!
107
T
90
CONTINUED
DAVID
You
look
like
you
have
a
charlie-
horse
in
your
cheek.
MADDIE
I'm
calm,
damn
it!
ON
DAVID
...jumping
back
with
a
start...
DAVID
Okay
then...I'm
going
to
take
you
at
your
word.
going
to
untie
you
now.
ANOTHER
ANGLE
...as
he
walks
behind
her...and
begins
to
untie
her...
DAVID
(working
on
the
knot)
Yeah,
Maddie
Hayes...
(and
he
removes
the
rope)
Like
it
or
not...
...and
he
moves
AROUND
HER...standing
in
front
of
her
now...OFFERING
HER
HIS
HAND
as
she
rises
from
her
seat...
DAVID
(CONT'D)
...it's
you
and
me.
ON
MADDIE
...and
she
SMILES...A
TERRIFIC
SMILE...and
hauls
off
and
nails
him
with
A
LEFT
CROSS
TO
THE
CHIN...
ANOTHER
ANGLE
...as
David
HITS
the
FLOOR...and
Maddie
TURNS...and
starts
out
of
the
kitchen...
336
337
338
339
340
108
91
)
CONTINUED
340
'
MADDIE
)
(over
her
shoulder)
That's
how
you
throw
a
punch.
)
)
ON
DAVID
341
...lying
there...staring
up
at
the
ceiling...
DAVID
Yeah.
I'm
really
looking
for-
ward
to
working
with
you,
Kid.
...and
we...
FADE
OUT
*
.
.
END
OF
ACT
FOUR
109
REV.
9-24
9z
ACT
FIVE
FADE
IN;
BLACK
...and
we
HEAR
the
SOUND
of
a
LIGHT
BEING
SWITCHED
on
to
REVEAL...
*INT.
CITY
OF
ANGELS
INVESTIGATIONS
-~
NIGHT
...as
David
and
Maddie
make
their
way
into
the
offices.
The
place
is
EMPTY...DESERTED...the
middle
of
the
night...
*
DAVID
(in
...1
figure
we
can
each
take
a
couch.
I
even
think
there
are
blankets
hidden
away
in
one
of
these
closets.
FAVORING
DAVID
...as
he
ATTACKS
one
of
the
office
closets...tossing
out
file
folders
and
boxes
of
typewriter
ribbons
and
finally
coming
up
with...
DAVID
Ta-da!
(and
he
holds
a
pair
of
blankets
up
over
his
head)
From
the
company
picnic.
(turning
around;
looking
at
Maddie)
You
used
to
throw
a
great
com-
pany
picnic.
(and
then)
wWhy
are
you
looking
at
me
like
that?
-
MADDIE
I
was
sure
you
were
going
to
‘try
and
take
me
to
your
place.
‘DAVID
I
think
I'm
insulted.
(and
then)
Would
you
have
gone
for
it?
(and
then)
Never
mind.
...and
he
TURNS
and
walks
INTO...
-84
342
343
344
110
{
REV.
(X)
93
INT.
AN
OFFICE
...as
David
throws
the
blankets
on
a
couch
and
sets
to
work
fashioning
a
bed
out
of
it.
OMIT
ON
MADDIE
DAVID
(over
his
shoulder;
indicating
the
phone)
You
want
to
call
anybody...let
‘em
know
you're
okay...boyfriend
or
something...
MADDIE
(rolling
her
eyes)
Please...
DAVID
What?
.MADDIE
.
just
haven't.
heard
the
word
boyfriend
since
the
eighth
grade.
DAVID
Excuse
me.
Forgive
me.
You
want
to
call
your
gigolo
sure
and
dial
nine
first.
10-22-84
345
345A-345B
345C
...as
she
pushes
herself
out
of
the
doorway...comes
over
and
begins
helping
David
make
the
bed...
ON
DAVID
MADDIE
‘(after
a
moment)
Back
at
my
house?
That
was
very
brave
what
you
did.
345D
...a5
he
stops
dead
in
his
tracks...and
AFTER
A
MOMENT...
looks
up
at
her...
111
REV.
10-22-84
(X)
94
MADDIE
(finishing
her
thought)
Stupid...but
brave.
DAVID
(smiling;
continuing
to
make
the
bed)
Ooocoh.
She's
hostile
when
she
hasn't
had
her
nap.
MADDIE
I'm
not
hostile.
I'm
exhausted.
And
uncomfortable.
And
a
little
scared.
(and
then)
Do
you
DAVID
Absolutely.
(and
then)
What's
it
like
being
so
pretty?
MADDIE
You're
changing
the
subject.
DAVID
I
am?
I
thought
the
subject
was
you.
MADDIE
No.
The
subject
was
you
and
your
plan.
(stopping;
looking
at
him;
after
a
LONG
"
MOMENT)
You
don't
have
a
plan...do
you?
DAVID
Are
you
calling
me
a
liar?
MADDIE
I'm
not
calling
you
anything.
I'm
just
looking
for
some
assur-
ance...some
sense
that
someone
is
in
charge
here...that
someone
has...sat
down...thought
about
the.
predicament
we're
in...and
arrived
at
some
idea
as
to
how
we
can
get
out
of
it.
345D
112
CONTINUED
ON
MADDIE
REV.
(X)
95
DAVID
I've
done
all
that.
MADDIE
And...?
DAVID
(moving
towards
her;
stroking
her
hair)
There
really
are
moonbeams
in
that
stuff...aren't
there?
...livid...pushing
him
away.
MADDIE
You
think
this
is
all
terribly
funny,
don't
you?
DAVID
(moving
back
towards
her)
Maddie.
Get
it
straight.
I'm
the
best.
(and
then)
At
everything.
...and
the
two
of
them
stand
there...toe
to
toe...for
the
LONGEST
TIME...
MADDIE
(finally)
You'd
better
be.
10-22-84
345D
345E
...and
with
that
she
TURNS...and
goes
to
the
office
door...
holding
it
ope
ON
DAIVD
he
turns
n...signalling
for
him
to
leave...
...and
makes
his
way
out
of
the
office...
DAVID
(as
he
passes)
If
you
need
anything...
345F
113
REV.
10-22-84
(X)
96-96A
CONTINUED
345F
MADDIE
(cutting
him
off)
I
won't...
...and
SUDDENLY
there
is
a
BANG...the
office
door
closes
on
him.
And
David
SMILES...and...
INT.
THE
OFFICE
-
NIGHT
345G
...as
Maddie...alone
at
last...reaches
over
and
shuts
off
the
OFFICE
LIGHT...and
she
SHAKES
HER
HEAD...and
stretches...
about
to
reach
behind
her
and
unfasten
her
dress
when
she
HEARS
A
SOUND...
ON
DAVID
.
...his
tie
pulled
away
his
collar...standing
in
the
dark...just
outside
the
office
door...a
harmonica
pressed
to
his
lips...a
SLOW,
SOULFUL
version
of
BLUE
MOON
float-
ing
out
of
it...
ON
MADDIE
3451
...and
we
WATCH
FROM
ABOVE...as
the
music
seeps
through
the
door...and
her
head
hits
the
pillow...and
we
can't
help
but
notice
the
slow,
begrudging
SMILE
that
makes
its
way
across
her
face.
And
we
HOLD
for
the
LONGEST
TIME...watching
Maddie...watching
the
smile...and
fi-
nally....we...
DISSOLVE
TO:
OMIT
i
346-351
EXT.
THE
STREET
-
DAY
352
...as
the
two
of
them
make
their
way
down
it...
114
97
CONTINUED
352
DAVID
The
key
to
this
case
is
the
watch.
Agreed?
MADDIE
Agreed.
DAVID
Okay,
then...what
we've
got
to
figure
out
is...what
it
is
that
makes
the
watch
so
valuable.
Agreed?
MADDIE
(warily)
Agreed.
:
.
’
--
DAVID
.
So
then
clearly
what
we
need
is
some
expert
in
the
field
of
value.
ANOTHER
ANGLE
353
...as
David
TURNS...and
with
a
flourish
of
his
arm...
DAVID
Ta-da...
...to
REVEAL...
EXT.
A
PAWNSHOP
-
DAY
354
...three
pawn
balls
hanging
from
a
stem
above
the
place...
‘the
windows
filled
with
used
merchandise...
MADDIE
It's
a
pawnshop.
DAVID
You
peeked.
...and
we...
SHOCK
CUT
TO:
115
REV.
10-23-84
98
EXTREME
CLOSE-UP
ON
THE
WATCH
355
...as
SEEN
THROUGH
A
JEWELER'S
CRYSTAL.
And
then
the
watch
is
lowered
OUT
OF
FRAME...
ANOTHER
ANGLE
156
...to
REVEAL
a
PAWNBROKER
behind
the
counter
examining
the
watch
as
Maddie
and
David
look
on.
PAWNBROKER
(looking
up
at
them;
with
a
shrug)
Three
dollars?
DAVID
(cupping
his
hands;
calling
out
into
.
the.
store)
.
R
Thief!
fThief!’
MADDIE
(FREEZING
DAVID
with
a
stare)
Three
dollars?
*
DAVID
.
(turning
to
the
.
pawnbroker)
There
must
be
some
mistake.
You
said
yourself...it's
a
one-
of-a-kind.
*
¥
¥
PAWNBROKER
A
worthless
one-of-a-kind.
You
ever
look
at
this
thing?
1It's
not
even
really
a
watch.
CLOSE-UP
ON
THE
WATCH
357
...as
the
pawnbroker
shows
it
to
David
and
Maddie...a
square
face
surrounded
by
Roman
numerals
with
the
word
"EASTERN"
across
the
top
and
gilded
lattice-like
detailing
.
climbing
up
the
sides.
PAWNBROKER
(0.C.)
It's
got
no
hour
hand...it's
got
no
stem
for
setting
the
time...
116
REV.
10-23-84
99
ON
MADDIE
AND
DAVID
358
...Clearly
amazed
by
this...
PAWNBROKER
(O.C.)
...and
my
guess
is...just
from
what
it
weighs...
ON
THE
PAWNBROKER
359
...as
he
takes
out
a
tool
and
opens
the
watch...
PAWNBROKER
(nodding
his
head)
...there's
no
works
in
it.
...and
he
turns
it
around
to
REVEAL...
CLOSE-UP
ON
THE
WATCH
.
360
it
is
just
an
empty
case...
PAWNBROKER
(0.C.)
And
from
what
I
can
tell...
there
never
were...
FAVORING
MADDIE
*361
...as
she
takes
it
from
the
pawnbroker...and
examines
it...
*
MADDIE
*
(handing
it
to
*
:
David)
*
Explain
that.
*
DAVID
(holding
the
watch
up
to
his
face)
A
compact
for
people
with
very
small
faces.
PAWNBROKER
(CONT'D)
...the
inside
of
the
case
is
damaged.
Somebody
etched
some
numbers
in
there...
DAVID
Numbers?
117
REV.
10-23-84
(X)
99A
CONTINUED
361
...and
David
looks
inside
the
watch
again...and
sure
enough...there
are
some
numbers:
34
2
52
118
0
47.
118
CONTINUED
ON
MADDIE
...and
she
is
(X)
100
DAVID
(showing
them
to
Maddie)
The
plot
thinnens.
NOT
AMUSED.
MADDIE
(to
David)
Great.
So
we're
being
stalked
over
a
worthless
watch.
DAVID
Well
I
don't
know
that
it's
worthless.
What
about
these
numbers?
MADDIE
What
about
them?
DAVID
Well...maybe
they
mean
something.
MADDIE
Like...?
DAVID
-
(a
shrug)
I
don't
know.
MADDIE
You
don't
know
much...do
you?
(turning
quickly
to
go;
-
over
her
shoulder
to
the
pawnbroker)
"Expert
in
the
field
of
value"!
PAWNBROKER
(not
understanding;
to
Davigd)
Did
I
say
something?
REV.
361
361A
119
REV.
10-23-84
(X)
100A
CONTINUED
DAVID
(over
his
shoulder;
as
he
turns
to
follow
her)
She's
strange.
She
doesn't
get
out
much.
...and
with
that
DAVID
TURNS
RUNS...DOWN
the
AISLE
and
OUT
the
DOOR
after
Maddie...as...
OMIT
.
362-
361A
364
120
REV.
10-4-84
101
THE
PAWNBROKER
:
365
...puzzled
by
this...TURNS...and
starts
toward...
THE
BACK
OF
THE
STORE
366
..
.SEPARATED
from
the
front
by
a
CURTAIN...which
the
man
PULLS
ASIDE
TO
REVEAL...
PAWNBROKER
(with
a
start)
HEINZ
*367
«..STANDING
THERE...an
o0ld
and
feeble
looking
man...no
apparent
threat
to
anyone...save
for
something
chilling
in
his
eyes...a
STEELY
sense
of
purpose...
L
<"
'HEINZ
i
:
:
.
Forgive
me.
I
didn't
mean
to
startle
you.
I
used
the
back
door.
At
my
age
the
walk
from
the
parking
lot...
121
!
i
REV.
10-4-84
(X)
101A
ANOTHER
ANGLE
...as
the
PAWNBROKER
TURNS
YET
AGAIN...and
starts
back
out
towards
the
front
of
the
store...Heinz
following...
PAWNBROKER
How
can
I
help
you
today?
HEINZ
Two
young
people
were
just
in
here.
Asking
you
about
a
watch,
perhaps?
PAWNBROKER
(amused)
A
"watch
perhaps"
is
right.
HEINZ
Tell
me
about
it.
The
watch.
When
I
was
coming
in
the
back
-
door
I
thought
I
'overheard
you-
.mention
there
were
numbers
etched
in
the
case.
Do
you
remember
the
numbers?
.
PAWNBROKER
I
remember
they
were
there.
Do.
I
remember
what
they
were?
No.
I
couldn't
say
that.
(and
then;
impatient)
Is
there
something
I
can
show
.
you?
TIGHT
ON
HEINZ'S
SLEEVE
...and
we
SEE
the
BLADE
of
a
KNIFE
spring
forth
SILENTLY
from
the
sleeve
of
his
COAT...
HEINZ
Think.
What
were
the
numbers!
ANOTHER
ANGLE
...as
the
SMALL
BELL
above
the
PAWNSHOP
DOOR
RINGS...
and
a
GROUP
OF
OLDER
WOMEN
enter
the
store...
367B
367C
122
REV.
10-484
(X)
102
CONTINUED
367C
PAWNBROKER
(about
to
turn
from
HEINZ)
.
I
don't
have
time
to
think.
I'm
in
business
to
make
money.
(to
himself;
as
he
walks
.
|
away)
Watches
that
aren't
watches.
People
that
don't
want
to
buy.
ANOTHER
ANGLE
367D
...as
Heinz...with
great
resolve...grabs
the
Pawnbroker
and
SPINS
HIM
AROUND...
.
»
PAWNBROKER
Hey...!
HEINZ
(D
The.
numbers!
PAWNBROKER
(about
to
haul
off)
Take
your
hands
off
of
my
shoulder
you
old...
TIGHT
ON
THE
PAWNBROKER
367E
...as
SUDDENLY
his
face
changes...lax...drawn...
TIGHT
ON
A
"SERVICE"
BELL
367F
...as
one
of
the
OLD
WOMEN
RINGS
it
for
service...
ON
HEINZ
AND
THE
PAWNBROKER
367G
...as
the
Pawnbroker's
body
falls
limply
out
of
frame...
and
we
watch
as
Heinz
retracts
the
bloody
blade
back
into
his
sleeve...the
SOUND
of
the
SERVICE
BELL
RINGING
all
the
while...
123
REV.
10-4-84
(X)
CONTINUED
167G
OLD
WOMAN
(0.C.)
Hello?
1Is
there
anyone
here
to
help
us?
...and
Heinz
TURNS...and
starts
out
the
back
door...the
bell
STILL
RINGING...the
old
woman
STILL
CALLING...as
we...
DISSOLVE
TO:
OMIT
_
368-371
124
REV.
10-23-84
103
INT.
MADDIE'S
JAGUAR
-
DAY
372
...David
behind
the
wheel...Maddie
in
the
seat
beside
him...and
NO
ONE
SAYS
a
WORD
for
the
longest
time...
DAVID
(finally)
Are
we
not
speaking?
I'm
always
the
last
to
know
on
these
things.
...and
NOTHING
IS
SAID...Maddie
simply
sitting...paying
him
no
mind...not
a
word...not
a
glance...
DAVID
{(after
a
long
moment)
Maddie...Mysteries
don't
all
fall
into
place,
one~two-three,
boom.
So
now
we
know
the
watch
isn't
a
watch.
What
does
that
mean?
I
don't
that
means.
But
it
must
mean
some-
*
thing.
And
that's
important.
Maybe
the
numbers
inside
the
K:?
watch
mean
something.
Maybe
the
)
fact
that
it
doesn't
have
an
hour
hand.
I
don't
know.
All
I
do
know
is...
(turning
to
her)
You
gotta
trust
me.
ON
MADDIE
.
.
373
...and
she
can't
quite
believe
what
she
is
hearing...
MADDIE
Trust
you?
(and
she
turns
and
looks
at
.
him)
Trust
you?!
(and
then)
.
:
Are
you
a
well
person?
People
*
fire
you
and
you
make
googly
eyes
at
them.
Men
try
and
fry
your
face
and
you
make
jokes.
You
seek
out
expert
information
from
pawnbrokers.
You
talk
with
your
mouth
full...you
don't
signal
when
you
turn...and
worst
of
all...
you
don't
even
have
a
plan!
125
REV.
10-4-84
N
104
CONTINUED
373
DAVID
You
through?
MADDIE
No...I
am
not
through.
I
would
like
to
know
how
someone
like
you...someone
with
no
obvious
facility
for
deductive
reason-
ing...no
knowledge
of
business
administration...a
sissy
fighter...
DAVID
Are
we
going
to
start
that
again?
MADDIE
(CONT'D}
How
does
someone
like
that
get
to
be
the
head
of
a
detective
agency?
’
.
N
.
...and
there
is
a
LONG
MOMENT
of
SILENCE...and
then...
N,
MADDIE
(suddenly
aware
*
that
he
is
PULLING
OVER)
What
are
you
doing?
EXT.
A
NEWSSTAND
-
DAY
374
...as
the
JAGUAR
PULLS
OVER
TO
IT...
INT.
THE
CAR
375
...as
David
hits
a
SWITCH...and
Maddie's
window
ROLLS
DOWN..
.
126
REV.
10-4-84
105
CONTINUED
DAVID
(to
Maddie)
Tell
the
man
you
want
the
morn-
ing
paper.
EXT.
THE
NEWSSTAND
-
DAY
...as
a
none-too-pleased
Maddie
sticks
her
head
out
the
window
and...
MADDIE
(to
the
grizzled
newsman)
Morning
paper?
(turning
back
to
David)
.
You
sure
there
aren't
.
.
magazines
you
want?
1It's
not
like
we
have
a
lot
to
do.
...and
we
watch
as
she
hands
the
newsman
a
quarter...and...
INT.
THE
JAGUAR
...as
it
PULLS
FROM
THE
CURB...
DAVID
Turn
to
the
obituary
page.
MADDIE
You
shopping.
for
a
funeral
home?
How
appropriate.
DAVID
that)
See
if
there's
anything
listed
for
a.Jonathan
Kaplan.
ON
MADDIE
...as
she
turns
the
pages
of
the
newspaper...
375
376
377
378
127
REV.
10-4-84
106
CONTINUED
37¢
-
MADDIE
(suspicious;
not
understanding;
reading)
"Kaplan,
Jonathan.
Beloved
husband
of
Susan.
Amateur
pilot.
Passed
away
after
having
been
accidentally
struck
by
a
car.
Graveside
service
pending
at
Mount
Sinai
Memorial
Park."
*
*
DAVID
I
remembered
the
police
telling
me
that
Kaplan
had
been
hit
by
a
car
yesterday
morning
and
that
the
only
witness
was
our
buddy
Mr.-Mohawk
at
the-elevator.
MADDIE
(turning
to
him;
softening)
This
sounds
suspiciously
like
a
plan.
DAVID
(pissed;
he
can't
even
look
at
her)
Me?
A
plan?
Couldn't
be.
Everyone
knows
I
have
no
facil-
ity
for
deductive
reasoning.
Hell...I
can
barely
walk
and
chew
gum.
Dumb
David...always
‘chomping
on
his
shoes
and
blow-
ing
bubbles
with
his
feet.
Me?
Plan??
MADDIE
-
(this
is
hard)
.
I'm
sorry.
DAVID
No
you're
not.
(and
then)
I'm
not
even
sure
there's
a
connection.
(and
then)
I'm
grasping
at
straws.
128
9
107
CONTINUED
MADDIE
(tentatively;
TOUCHING
HIS
ARM)
Keep
grasping.
ON
DAVID
...and
the
touch
of
her
hand
STARTLES
HIM...and
he
TURNS
and
LOOKS
at
her...
ON
MADDIE
...and
she
takes
her
hand
back...and
SMILES
a
small
SMILE...
ON
THE
TWO
OF
THEM
...as
David
keeps
driving...and
Maddie
keeps
smiling.
And
David
smiles
a
small
smile
as
well.
And
we...
FADE
OUT
END
OF
ACT
FIVE
378
379
380
381
129
ACT
SIX
FADE
IN:
AN
ICED
TEA
GLASS
...TALL
and
WET
and
filled
with
vermouth.
And
a
WOMAN'S
HAND
REACHES
for
the
glass...PICKING
IT
UP
off
the
con-
crete...and
as
she
CARRIES
IT
to
her
lips...we
can't
help
but
notice
the
SWIMMING
POOL
BEHIND
HER
and
the
APARTMENTS
that
surround
it.
And
as
she
drinks
her
drink...her
eyes
dart
up
the
apartments
on
the
SECOND
LEVEL
and
to
the
COUPLE
standing
outside
one
of
the
apartment
doors
RINGING
A
BELL
in
the
LATE
AFTERNOON
SUN.
WOMAN
(calling
up
to
them)
Are
you
looking
for
me?
ON.
MADDIE
.AND
DAVID.
.
...as
they
TURN
from
the
APARTMENT
DAVID
Susan
Kaplan?
THEIR
P.0.V.
...and
we
can
SEE
IT
ALL
NOW...the
CHAISE
LOUNGES
arranged
HELTER
SKELTER
by
the
almost
ABANDONED
POOL...and
the
lone
lady...laying
on
her
back...a
bottle
and
a
glass
and
an
overflowing
ashtray
by
her
side...SUSAN
KAPLAN.
SUSAN
Who
wants
to
know?
FAVORING
DAVID
...as
he
leans
over
to
Maddie...
DAVID
(a
private
whisper)
Getting
people
to
open
up
is
very
tricky.
Let
me
handle
the
interview.
ANOTHER
ANGLE
...as
Maddie
and
David
start
down
theé
steps
towards
the
pool...
'
382
383
384
385
386
130
109
CONTINUED
386
DAVID
(2
big
smile)
Funeral
home
said
we
could
find
you
here.
(and
then)
Hi.
My
name
is...
SUSAN
(cutting
him
off;
to
Maddie)
I
know
you.
You
used
to
be
on
television.
ON
MADDIE
AND
DAVID
387
...as
Maddie
TURNS
and
LOOKS
TO
DAVID
for
some
kind
of
-
APPROVAL
TO
SMILES...first
AT
MADDIE
and
then
AT
THE
WOMAN...the
hardest
smile
of
his
life...
MADDIE
—
(after
a
moment)
I'm
Maddie
Hayes...and
this
is
my...
(hesitating)
...business
associate
David
Addison.
(and
then;
the
two
of
them
pulling
up
chairs)
We
know
this
is
a
bad
time,
Mrs.
Kaplan...
SUSAN
(cutting
her
off)
You're
thinking...she
doesn't
look
like
a
grieving
widow.
(and
then;
with
a
SHRUG)
.
I
guess
she
isn't.
(and
then)
Did
you
know
my
husband
Jonathan?
"
ON
MADDIE
AND
DAVID
388
...as
each
waits
for
the
other
to
answer...and
the
SILENCE
)
HURTS.
131
REV.
10-11-84
110
CONTINUED
DAVID
.
(finally)
Sort
of.
...and
he
looks
at
Maddie
and
shrugs...he's
sorry...that
was
the
best
he
could
do
off
the
top
of
his
head...
MADDIE
(jumping
in)
Mrs.
Kaplan...we
were
wondering
if
you
could
tell
us
anything
about
a
strange
watch.
With
one
hand
and
no
stem?
DAVID
(picking
up
the
ball)
We're
collegtors.
.
Watches
from
.around
the
world.
...and
Maddie
looks
at
him
and
mouths
the
word
"collectors?"
in
disbelief...
SUSAN
(a
laugh)
My
great
inheritance.
(and
then)
I
don't
have
it.
Johnny
was
wearing
it
when
the
car
hit
him.
The
police
say
they
don't
have
it.
They
claim
he
wasn't
even
wearing
it,
but
he
always
wore
two
watches.
The
one
his
father
left
him
didn't
even
work.
Isn't
it
funny?
His
father
was
a
watchamker...a
clockmaker.
He
passed
away
about
a
month
ago.
It's
béen
a
terrific
month
in
my
family
folks...
...and
she
takes
a
heavy
pull
on
her
drink...
MADDIE
Strange
thing
for
a
watchmaker
to
leave
his
son.
SUSAN
Strange?
Johnny's
dad?
He
was
a
flyer
in
the
second
World
War
and
was
shot
down
over
Germany.
He
used
to
tell
us
this
story
that
just
before
the
war
ended,
(MORE)
338
*
%
*
%
*
132
CONTINUED
e
e
e
S
REV.
10-11-84
111
388
SUSAN
(CONT'D)
this
Nazi
who
could
see
the
writing
on
the
wall
asked
him,
if
when
he
was
released
he
would
smuggle
four
million
dollars
in
diamonds
from
Germany
to
America.
Anyway...the
way
Johnny's
dad
would
tell
the
story...in
the
Fifties...when
the
German
officer
finally
made
his
way
to
America
to
claim
the
diamonds...he
stiffed
him.
He
hid
them
someplace.
Some
secret
place.
DAVID
You
don't
sound
like
you
believe
it.
SUSAN
No.flies
on
you.
DAVID
Somebody
has
to
tell
me
what
that
means.
SUSAN
Hey.
I
have
eyes.
The
guy
lived
in
a
little
tiny
house.
He
drove
around
in
ten-year-old
cars.
He
never
missed
a
day's
work.
If
there
were
any
diamonds
in
his
life,
I
sure
didn't
see
the
proof
of
it.
But
try
telling
‘that
to
Johnny.
He
was
sure
the
old
man
had
these
diamonds
in
a
vault
somewhere.
That
he
was
going
to
out-wait
the
Nazi.
Even
if
it
meant
never
seeing
the
money
himself.
Even
if
it
meant
leaving
it
to
his
son.
So
Johnny
never
got
a
regqular
job.
Oh...he
piloted
once
in
a
while,
but
mostly
he
just
slept
and
jogged
and
waited
for
his
old
man
to
kick
off.
*
*
%
133
‘\{
CONTINUED
112
MADDIE
Which
he
did
about
a
month
ago.
SUSAN
He
sure
did.
A
week
after
he
passed
away...a
guy
comes
to
the
door...a
collector,
like
you
two...offers
us
five-thou-
sand
dollars
for
the
watch.
Five-thousand!
1It's
not
like
his
father
left
us
anything
else.
Not
even
the
money
to
bury
him
with.
But
Johnny
won't
sell.
Sentimental
value
he
says.
Let
me
tell
you...I
could
use
five-thousand
senti-
mental
dollars
right
now.
DAVID
The
gentleman
who
came
to
your
door?...the
collector?...tall
man
with
dark
hair?...about
thirty-five?
SUSAN
.
Not
even
close.
This
guy
was
mid-sixties
if
he
was
a
day.
REV.
10-11-84
338
134
.REV.
10-11-84
113
ON
DAVID
AND
MADDIE
...as
they
exchange
a
look...and
we...
SHOCK
CUT
TO:
EXT.
THE
STREET
OUTSIDE
SUSAN'S
APARTMENT
=~
DAY
...as
the
SUN
BEGINS
TO
SET
and
the
two
of
them
make
their
way
back
towards
the
car...
DAVID
(mock
serious)
"Mrs.
Kaplan...we
were
wondering
if
you
could
tell
us
about
a
strange
watch.
With
a
black
mouse
and
two
round
ears?"
.
(looking
at
her)
-
And
you
swore
on
your
application
that
you'd
never
done
this
before.
MADDIE
.
(ignoring
that)
So
this
really
isn't
about
the
watch
at
all.
1It's
about
four
million
dollars
in
diamonds.
DAVID
If
you
believe
Kaplan's
father-
in-law.
&and
I
do.
MADDIE
So
what
do
we
do
now?
DAVID
Beat
everybody
to
the
diamonds.
MADDIE
(dubious)
Right.
You
know
how
to
do
that?
*
DAVID
Hey!
Do
flies
fly?
Does
Spock
*
beam
up?
*
MADDIE
And
you
know
where
they
are?
*
DAVID
I
think
I
can
safely
narrow
it
down
to
a
planet.
389
390
135
REV.
10-4-84
114
ANOTHER
ANGLE
...as
the
two
of
them
make
their
way
AROUND
and
INTO...
INT.
THE
JAGUAR
...as
Maddie
and
David
climb
in...and
David
REACHES
UP
and
REFLEXIVELY
GRABS...
DAVID
For
what
it's
worth...I
don't
think
anyone
else
knows
where
they
are
either.
Otherwise
they'd
be
chasing
them
instead
of...
THE
REARVIEW
MIRROR
...which
he
adjusts...and
as
he
DOES...HE
and
WE
BOTH
SEE...
e
.
SIMON
...sitting
in
the
back
seat...a
CORD
around
his
neck...his
face
an
ICY
BLUE...his
TONGUE
HANGING
out
of
his
MOUTH...
FAVORING
DAVID
«..Sitting
there...staring
into
the
mirror...SPEECHLESS.
MADDIE
Otherwise
he'd
be
chasing
what?
DAVID
(slow;
absently;
his
eyes
never
.
.
leaving
the
mirror)
Us.
He'd
be
chasing
them
instead
of
us.
.
(and
then)
Maddie?
1If
I
asked
you
to
do
something
for
me,
would
you
do
it
without
saying
"why"?
MADDIE
Why?
391
392
*
393
394
395
136
CONTINUED
...and
David's
up...and
HOLD
HER
HEAD
IN
PLACE...keeping
her
from
looking
in
the
back
seat.
115
DAVID
Withdraw
the
question.
(and
then)
Maddie...let's
both
get
out
of
the
car.
MADDIE
‘Excuse
me?
DAVID
Let's
both
just
leave
the
car.
We'll
rent
a
car...we'll
call
a
cab.
(reaching
for
the
door
handle)
Let's
both
just
get
out
of
the
car.
(baffled)
DAVID
(turning
to
her;
carefully)
It's
nothing
to
get
upset
about.
Really.
just...and
now
I
don't
want
you
to
look
but...
(big
smile;
nothing
at
all
the
matter)
...there's
a
dead
man
in
the
back
seat.
MADDIE
There
is?
MADDIE
(her
face
pressed
between
his
hands)
How
do
you
know?
I
mean...how.
do
you
know
he's
dead?
DAVID
It's
either
that...or
the
man
uses
an
obscene
amount
of
blue
rouge.
395
137
REV.
9-24-84
116
ON
MADDIE
...as
she
NODS...understanding...and
David
LOOSENS
his
GRIP...and
Maddie
moves
for
the
CAR
DOOR...and
then
SUDDENLY
TURNS
and
LOOKS
AT...
SIMON
...just
sitting
there...a
LINE
of
DRIED
BLOOD
around
his
NECK
where
it
was
SLIT...his
EYES
beginning
to
BUG
OUT
of
his
head...
ON
MADDIE
...as
she
SCREAMS
the
LOUDEST
SCREAM
in
the
history
of
broadcasting...
.
MADDIE
.
N
REVERSE
ANGLE
...whips
her
head
around
front...
DAVID
I
told
you
not
to
look!
MADDIE
What
do
we
do!!1?22
DAVID
We
get
out
and
walk
away.
MADDIE
And
just
leave
him?
DAVID
Trust
me...he
won't
hold
it
against
us.
EXT.
THE
STREET
...as
the
two
of
them
CLIMB
OUT
of
the
car...BADLY
SHAKEN...
and
BEGIN
WALKING
down
the
sidewalk...neither
one
able
to
look
at
the
other...
396
397
398
399
400
138
'
)
CONTINUED
REV.
117
DAVID
(after
a
moment)
It's
a
signal.
Somebody's
let-
ting
us
know
they're
on
to
us.
MADDIE
Who?
DAVID
I
don't
know.
MADDIE
(suddenly;
walking
ahead
of
him)
That's
it.
1It's
over.
DAVID
-
'
‘What
are
you
talking
about?
MADDIE
I'm
talking
about
me.
Playing
detective.
It's
over.
I'm
going
to
do
what
I
wanted
to
do
in
the
first
place.
I'm
going
to
call
the
police
and
give
them
the
watch.
10-4-84
...and
we
WATCH...as
they
ROUND
a
CORNER
and
CONTINUE
DOWN...
EXT.
A
COMMERCIAL
STREET
-
DUSK
...Maddie
walking
fast...David
trying
to
keep
up...
DAVID
You
can't
do
that.
You
wouldn't
do
that.
This
is
my
big
case.
Our
big
case.
MADDIE
Watch
me.
...and
she
TURNS
INTO...
400
»
139
REV.
10-4-84
(X)
.
.
117a
INT.
A
BAR
402
...damn
near
deserted...just
a
BARTENDER
behind
the
bar
and
a
lonely
couple
huddled
in
a
table
in
the
corner...
and
no
one
even
looks
up
as
Maddie
comes
charging
through
the
door...David
right
behind
her...
140
CONTINUED
...and
with
that
she
CLOSES
THE
BOOTH
DOOR...fishes
through
118
MADDIE
(to
the
bartender;
without
breaking
her
strigde)
Pay
phone?
BARTENDER
(peinting)
In
the
back.
DAVID
(following
her)
Maddie...we're
so
close.
Think
about
all
we've
found
out.
We're
that
far
away
from
crack-
ing
this
thing.
We're
that
far
away
from...
MADDIE
(stopping;
CUTTING
HIM
OFF)
Dying!
That's
what
we're
that
far
away
from.
I
have
known
you
less
than
forty-eight
hours
and
in
that
time
I
have
been
driven
from
my
home...watched
a
man
die
at
my
feet...and
had
another
left
in
the
back
of
my
car.
David...I've
had
it.
(turning;
stepping
into
the
phone
booth)
I
don't
want
to
die
with
a
knife
in
my
back
or
my
throat
slit.
her
purse
for
change...starting
to
dial...
ON
DAVID
...watching
her...beginning
to
panic...
DAVID
(turning;
heading
for
the
bar)
.
You
need
a
drink...
402
403
141
119
INT.
THE
PHONE
BOOTH
...as5
Maddie
waits...phone
pressed
to
cheek...
ANOTHER
ANGLE
MADDIE
(to
herself)
I'll
tell
them
about
Heinz...
give
them
the
watch...
(and
‘then)
Hello?
Police?
Yes...I'd
like
to
speak
with
someone
in
author-
ity.
(and
then)
Yes
it's
a
matter
of
life
and
death.
(and
then)
No.
No
one
is
threatening
me
right
this
moment.
(and
then)
Yes...I'll
hold.
...as
David
returns
with
a
drink...
DAVID
(pushing
OPEN
the
booth
door)
Drink
this.
MADDIE
(taking
it
from
him;
taking
a
pull)
What
is
this?
:
DAVID
Just
a
little
Kamikazee
to
take
the
edge
off.
(and
then)
Maddie...think
about
what
you're
doing.
We're
so
close
to
crack-
ing
this
thing.
(and
then;
pulling
the
watch
from
his
pocket)
It's
these
numbers
on
the
back.
I'm
sure
of
it.
If
we
can
fig-
ure
out
what
they
stand
for
we
can
find
the
diamonds...
404
405
142
REV.
10-4-84
120
CONTINUED
MADDIE
(into
the
phone;
ignoring
him)
Yes...I'm
still
holding.
DAVID
(calling
to
the
bartender)
Let
me
have
another
kamikazee
for
the
lady.
MADDIE
Are
you
trying
to
get
me
drunk?
DAVID
Me?
Get
you
drunk?
..
.
MADDIE
-
s
David...give
me
the
watch.
DAVID
Why
don't
you
take
the
night
and
think
about
this.
A
good
sleep
on
a
nice
firm
sofa...?
ON
MADDIE
...as
she
SLAMS
DOWN
the
PHONE
in
frustration...
MADDIE
Damn
it...!
...and
begins
to.dig
through
her
purse
for
more
change...
405
406
143
REV.
10-4-84
121
CONTINUED
DAVID
(watching
her)
Who
you
calling
now?
MADDIE
(dropping
change
into
the
phone)
Taxi.
.
(and
then;
DIALING)
I
do
not
plan
on
spending
another
night
in
that
office.
I'm
sleep-
ing
in
a
bed...in
a
hotel.
{and
then;
into
PHONE)
Hello?
I
need
a
cab
to
take
me
to
Beverly
Hills...
ON
DAVID
...a2s
he
pushes
himself
OUT
OF
THE
BOOTH
and
CLOSES
THE
DOOR...s0
that
he
and
we
are
both
unable
to
hear
the
conversation.
And
he
TURNS...looking
MORE
DEJECTED
than
we've
ever
seen
him...and
heads
over
to
the
JUKE
BOX...
and
DROPS
a
QUARTER
IN...and
after
a
MOMENT...MUSIC
STARTS.
VOICE
(0.C.)
David...I
need
the
watch.
...and
David
TURNS
to
SEE...
MADDIE
...standing
there.
Holding
her
drink.
MADDIE
David...it's
over.
ANOTHER
ANGLE
...as
he
PULLS
the
watch
from
his
pocket...and
without
looking
at
her...holds
it
outstretched
in
his
hand.
And
after
a
moment...Maddie
TAKES
it
and
pockets
it.
MADDIE
Thank
you.
I'll
call
the
police
from
the
hotel.
(and
then)
Are
you
going
to
be
okay?
406
407
408
409
144
122
ON
DAVID
...as
he
NODS...wordlessly.
ON
MADDIE
...uneasy...uncomfortable...
MADDIE
I
guess
I'll
wait
for
my
cab
outside.
...and
as
she
starts
to
move...
DAVID
(0.C.)
You
want
to
dance?
ANOTHER
ANGLE
.
...as
Maddie
and
turns
and
looks
at
him...
MADDIE
What?
DAVID
Dance?
You
want
to
dance?
With
me?
Here?
Now!
MADDIE
I
don't
know
what
you're
talking
about.
People
don't
dance
here.
This
isn't
a
place
where
people
dance.
ON
DAVID
...as
he
pushes
a
table
and
some
chairs
out
of
the
way...
DAVID
(taking
her
hand;
pulling
her
to
him)
C'mere...
ON
MADDIE
’
!
...and
she
does...depositing
her
drink
on
one
of
the
tables...winding
her
arms
around
him...beginning
to
move
with
him...
410
411
412
413
414
145
123
CONTINUED
414
MADDIE
David...I'm
not
going
to
change
my
mind...
ON
THE
TWO
OF
THEM
415
...as
they
begin
to
spin
around
the
room...
DAVID
(his
chin
buried
in
her
shoulder)
I
know
that.
All
I'm
asking
for
is
a
dance.
ON
MADDIE
:
416
...her
eyes
this...but
kind
of
liking
it...
MADDIE
This
is
weird.
DAVID
.
Weird
yes...but
destined
to
catch
on.
You'll
see...soon
people
will
be
dancing
everywhere.
FOLLOWING
THEM
417
...as
THEY
DANCE...past
the
cigarette
machine
and
the
juke
box.and
the
beer
nuts
rack...spinning
past
the
pin
ball
machine
and
the
television
set...the
dark
room
and
the
music
from
the
juke
making
it
romantic
nonetheless...
‘MADDIE
I
don't
think
I've
ever
danced
.
in
a
place
like
this
before.
-
DAVID
Yeah...it's
like
all
the
big
clubs.
It's
who
you
know.
...and
with
that
they
dip...and
Maddie
LAUGHS...and
David
DRAWS
HER
BACK
IN...CLOSE
to
him...
146
124
CONTINUED
MADDIE
(looking
at
him)
Can
I
ask
you
something?
DAVID
Anything.
My
life's
an
open
book.
The
only
thing
I
won't
discuss
is
me
and
the
President.
MADDIE
Do
you
really
think
I'm
cold?
DAVID
(looking
at
her)
Did
I
say
that?
(and
then)
I
didn't
say
that.
.
"
-
(and
then)
.
How
could
I
have
said
that?.
(and
then)
You?
Cold?
I'm
burning
up
over
here.
.
...and
that
would
seem
to
be
answer
enough,
for
she
looks
away
from
him...and
BURIES
HER
HEAD
in
his
chest...and
we
HEAR
the
SOUND
of
a
HORN
HONKING...
BARTENDER
(looking
out
the
window)
Cab
is
out
front
waiting
for
you.
ON
THE
TWO
OF
THEM
...as
David
looks
down
at
Maddie...
DAVID
(gently)
Cab
is
out
front
waiting
for
you.
MADDIE
(still
dancing;
seeming
not
to
hear)
You
would
tell
me
if
you
thought
I
was
cold...wouldn't
you?
417
418
147
REV.
9-24-84
125
CONTINUED
DAVID
Sure
I
would.
ANOTHER
ANGLE
...as
the
two
of
them
separate...Maddie
pulling
herself
from
him...and
she
turns...and
goes
to
the
door...
ON
MADDIE
...as
she
reaches
to
open
it...and
then
turns
back
to
him
just
one
more
time...
MADDIE
For
what
it's
worth...dead
bodies
and
.all...I
did
have
.
fun.
Tons
of
‘fun.
ON
DAVID
...and
he
SMILES...and
he
SHRUGS...
DAVID
Later.
ANOTHER
ANGLE
...as
Maddie
SMILES...and
Maddie
SHRUGS...
Yeah.
Later.
...and
PULLS
OPEN
the
door...and
finally:steps
through
it.
And
aftet
a
moment...is
GONE.
ON
DAVID
...and
we
HEAR
the
SOUND
of
the
CAB'S
ENGINE
as
it
PULLS
AWAY
from
the
unseen
curb...David
just
standing
there...
watching
the
door
of
the
bar.
2And
we
can't
help
but
notice
the
way
his
hand
climbs
into
his
pocket...and
PULLS
OUT
a...
418
419
420
421
422
423
148
(]
s
126
WRISTWATCH
...the
same
wristwatch
he
gave
Maddie.
ANOTHER
ANGLE
...as
David
smiles
and
begins
to
whistle
the
song
on
the
juke
box
as
he
spins
the
wristwatch
on
his
middle
finger...
DAVID
(to
himself)
Yeah.
Later...
...and
we...
FADE
OUT
END
OF
'ACT
SIX
424
425
149
ON
MADDIE
ACT
SEVEN
FADE
IN:
EXT.
AVENUE
OF
THE
STARS
-
DAY
...as
a
TAXI
ROARS
UP
to
a
BUILDING...screeches
to
a
HALT...and
PARKS
ITSELF
RIGHT
NEXT
TO
THE
CURB.
ANOTHER
ANGLE
...as
Maddie
climbs
out
of
the
cab
and
looks
up
at...
A
CENTURY
CITY
SKYSCRAPER
...all
steel
and
glass...
.
...as
she
looks
at
it
and
CURSES
under
hef
breath...she
is
not
a
happy
.lady.
And
after
a
moment...she
starts
into
the
building...as
we...
CUT
TO:
A
BUILDING
CORRIDOR
...a
glass
painter
busily
at
work
painting
the
words:
"BLUE
MOON
DETECTIVE
AGENCY"
on
a
pane
of
frosted
glass...
and
we
SEE
MADDIE
round
the
corner...and
make
her
way
over
to...
THE
OFFICE
DOOR
...and
the
PAINTER
SMILES
UP
AT
HER
as
he
paints
the
last
letter.
And.Maddie
makes
a
face...and
pulls
a
handkerchief
out
of
her
pocket...and
SMEARS
the
paint
across
the
glass...
INT.
THE
BLUE
MOON
DETECTIVE
AGENCY
...as
the
door
OPENS
and
Maddie
STEPS
INSIDE...
426
427
428
429
430
431
432
150
kit
e
e
e
128
CONTINUED
MS.
DIPESTO
(without
looking
up)
Welcome
to
Blue
Moon
Detective
Agency.
We'll
help
solve
your
case---we'll
help
find
your
mate.
If
it's
answers
you
need---
we're
eager
to
please.
From
stuff
that's
been
took---to
people
who
rook.
We're
always
on
the
case
with
a
smile
on
our
face.
We're
an
agency
with
class---we'll
really
move
our...
(glancing
up;
realizing)
Oh
my
God!
1It's
her!
.
NADDIE.
Where
is
he!
MS.
DIPESTO
(calling
to
the
others)
Look
who's
here!
1It's
her!
(and
then;
'
rising
from
her
chair)
I
don't
mind
telling
you
Ms.
Hayes...just
how
much
all
we
little
people
appreciate...
ON
MADDIE
...not
waiting
to
be
told...heading
towards
his
office...
.
MS.
DIPESTO
(CONT'D)
(following
her)
...your
getting
personally
in-
volved
with
our
agency.
OFFICE
WORKER
#1
(0.C.)
Three
cheers
for
Ms.
Hayes!
THE
OFFICE
Hip,
hip,
hooray!...hip,
hip,
hooray!...
432
433
151
"
MADDIE
129
INT.
DAVID'S
OFFICE
...covered
with
computer
paper...David
sitting
behind
his
desk
inputting
something
into
the
machine
when
SUDDENLY
his
office
door
FLIES
OPEN...
THE
OFFICE
(0.C.)
(FILTERED)
...hip,
hip,
hooray!
TIGHT
ON
THE
HEEL
OF
MADDIE'S
SHOE
...as
she
KICKS
the
door
closed
with
it.
ON
DAVID
...as
he
looks
up
to
DISCOVER...
...looking
right
at
through
him...
MADDIE
You
stole
it
from
me---didn't
you?
ANOTHER
ANGLE
...as
David
pushes
his
chair
out
from
behind
his
desk
and
RISES...all
smiles...
DAVID
:
You
look
angry...what
are
you
angry
about?
I
heard
the
kids
singing
out
there
when
you
came
in.
God...they
love
you.
They
think
you're
the
greatest
boss
in
the
world.
Did
you
see
the
office
we
fixed
up
for
you?
Mauve.
One
of
my
favorite
colors...
MADDIE
(cutting
him
off;
moving
towards
him;
picking
up
a
SCOTCH
TAPE
dispenser
from
his
desk)
I
want
it
back...NOW!
434
435
436
437
438
152
130
CONTINUED
DAVID
Can't
do
that,
Maddie.
Can't
give
it
back
to
you.
Not
when
I'm
so
close
to
cracking
this
thing.
I
can't
let
you
do
that
to
our
future.
MADDIE
Our
future?!
There
is
no
"our
future".
There's
my
future
and
your
funeral...if
you
don't
give
me
back
that
damn
watch.
DAVID
(moving
towards
her)
Maddie...put
that
down.
You
..
-
.
know
you're
going
‘to
do
.
.
anything
with
it...
ON
MADDIE
...as
she
winds
up
and
throws
it
and...
ON
DAVID,
...as
he
DUCKS...and
the
huge
picture
window
behind
him
SHATTERS...
DAVID
(after
a
moment;
‘whistling;
looking
out
the
window
and
down)
Boy
are
there
a
lot
of
unamused
people
down
there.
ANOTHER
ANGLE
...as
Maddie
picks
up
a
stapler...
MADDIE
I
mean
it,
David...
438
439
440
441
153
REV.
131
DAVID
Okay,
okay,
okay...no
more
office
supplies!
(and
then)
Just
listen
to
me.
1I've
got
something
better
than
the
watch.
MADDIE
What
are
you
talking
about?
DAVID
I
know
how
to
figure
out
where
the
diamonds
are.
MADDIE
(lowering
the
stapler)
How?
e
DAVID
It's
like
I
said
last
night...
The
answer
is
in
the
numbers
on
the
back
of
that
watch.
So
okay...I
steal
the
watch
from
you
and
I
come
back
here
and
I
start
feeding
the
numbers
into
the
computer
here.
I
mean...
I
don't
even
know
what
I'm
looking
for...but
I
can
just
smell
that
I'm
on
the
right
track.
Okay.
Now
the
computer
starts
generating
numbers.
All
kinds
of
numbers.
Phone
numbers.
Nothing.
It
starts
generating
zip
codes.
I'm
starting
to
get
discouraged.
The
computer
assigns
(MORE)
10-4-84
441
*
154
REV.
10-4-84
.
132
CONTINUED
441
DAVID
(CONT'D)
a
letter
of
the
alphabet
to
each
number
and
generates
words.
What
does
the
word
"Poopla"
mean
to
you?
I
don't
mind
telling
you...I
was
starting
to
feel
pretty
low.
*
(he
moves
across
the
room
to
his
chair)
Exhausted...I
throw
myself
into
this
chair...
(he
throws
himself
into
his
chair)
Delirious...I
start
to
babble...
{he
starts
to
babble)
)
.
"Where
.could
the
diamonds
be?"
I
cry.
"Where
could
the
didmonds
be?"
Now
I
look
at
my
globe.
-
ON
DAVID
442
...as
he
looks
at
the
globe
that
sits
next
to
his
desk...
and
gives
it
a
SPIN...
DAVID
}
I'm
looking
at
my
globe...and
I'm
watching
these
numbers
go
by?
These
little
numbers
all
)
over
the
globe?...and
I
remem-
j
ber
something
Susan
Kaplan
said.
(pulling
himself
out
of
the
chair...starting
b
.
.
towards
her
again)
She
said
her
father-in-law
had
’
been
a
pilot.
She
also
said
.
her
husband
had
been
a
pilot.
(2
big
smile)
Don't
you
get
it?
155
REV.
9-24-84
133
CONTINUED
MADDIE
No!
I
don't
get
anything.
DAVID
Latitude
and
longitude.
That's
how
pilots
find
their
way.
The
numbers
inside
the
watch
are
the
latitude
and
longitude
of
where
the
diamonds
are
hidden.
The
pawnbroker
was
right.
The
watch
isn't
a
watch.
1It's
a
set
of
directions
from
one
pilot
to
another.
MADDIE
(shaking
her
head)
David...I'm
totally
lost.
DAVID
Precisely...that's
why
we
need
a
map.
...and
on
Maddie's
puzzled
expression
we...
SHOCK
CUT
TO:
TIGHT
ON
A
PAIR
OF
OLD
WOODEN
DOORS
...as
they
FLY
OPEN
with
an
ECHOEY
BANG...and
Maddie
and
David
come
flying
through
them...
DAVID
The
map
room?
ANOTHER
ANGLE
...to
REVEAL
that
they
are
making
their
way
through
the
vast
caverns
of
the
LOS
ANGELES
PUBLIC
LIBRARY...the
and
musty
DOWNTOWN
BRANCH...
MADDIE
(spotting
it)
Over
there...
...and
they
RUSH
towards
the
AREA
Maddie
indicated
with
her
gaze.
And
we
HOLD...even
as
they
walk
OUT
of
FRAME.
442
443
444
156
CONTINUED
134
REV.
9-24-84
...as
a
man
steps
INTO
IT...his
EYES
FOLLOWING
David
and
Maddie's
path.
HEINZ.
And
we...
A
BOOK
...being
PULLED
FROM
A
SHELF.
And
there
is
no
mistaking
the
face.
CUT
TO:
And
David
LOWERS
the
LARGE
and
DUSTY
VOLUME
onto
a
wooden
table...opening
the
covers...
ON
THE
BOOK
-
DAVID
AND
MADDIE'S
...as
they
FLIP
THROUGH
IT...a
SERIES
OF
AERIAL
PHOTOGRAPHS
marked
in
latitudes
and.longitudes
and
further
delineated
minutes
and
seconds
and
degrees...
MADDIE
(OVER)
Do
you
know
what
you're
looking
for?
DAVID
(OVER)
A
good
woman,
a
fast
car,
and...
...and
she
stops
at
a
certain
page...part
of
DOWNTOWN
LOS
ANGELES
SEEN
FROM
ABOVE.
DAVID
(OVER)
...this!
And
his
FINGER
SCANS
the
numbers...
...rushing
across
the
tops
of
buildings...finally
stopping
at
one.
...and
we...
.
MADDIE
(OVER)
The
southeast
corner
of
Ninth
and
Broadway?
DISSOLVE
TO:
444
445
446
157
REV.
9-24-84
135
A
STREET
SIGN
*446A
the
CORNER
of
NINTH
STREET
and
BROADWAY.
And
we
HOLD
just
LONG
ENOUGH
for
that
to
REGISTER
and
then
the
CAMERA
BEGINS
TO
TILT
UP...taking
in
the
building
that
sits
on
that
corner...climbing
its
aqua-tile
front...finally
arriving
at
the
TOP
of
the
building
which
is
crowned
by
a
suspiciously
familiar
looking
clock...a
clock
with
a
sguare
face
surrounded
by
roman
numerals...the
word
"EASTERN"
across
its
top
and
gilded
lattice
work
climbing
up
its
sides.
And
SUDDENLY
a
hand
ENTERS
the
FRAME...a
hand
holding
a
watch...a
suspiciously
familiar
looking
watch...with
a
square
face
surrounded
by
roman
numerals...the
word
"EASTERN"
printed
across
its
face
and
gilded
lattice-like
detailing
climbing
up
the
sides.
REVERSE
ANGLE
*446B
...to
REVEAL
David
and
Maddie...standing
on
street
'
corner
the
building...’
DAVID
I
think
this
is
significant.
...and
on
the
two
of
their
dumbfounded
expressions...we...
SHOCK
CUT
TO:
OMIT
447-451
INT.
THE
BUILDING
LOBBY
=~
DAY
452
...as
the
two
of
them
enter.
Typical
downtown
lobby
with
a
row
of
elevators
and
a
small
newsstand.
And
David
quickly
scans
the
place
and
then
turns
to
the
man
behind
the
news-
stand...
'
DAVID
Any
of
these
elevators
go
all
-
the
way
up
to
the
roof?
NEWSSTAND
MAN
Just
the
freight,
I
think.
(pointing)
Down
the
hall
and
to
the
left.
158
REV.
9-24-84
Xy
.
136-137
CONTINUED
452
...and
David
and
Maddie
take
off...down
the
hall
and
to
the
left...making
their
way
towards...
THE
FREIGHT
ELEVATOR
*452A
...as
the
TWO
of
them
make
their
way
into
it...and
as
the
DOORS
CLOSE
we...
SHOCK
CUT
TO:
OMIT
.
453-467
159
REV.
9-24-84
N
.
(X)
138
EXT.
THE
ROOF
OF
THE
BUILDING
-
DAY
468
...as
David
and
Maddie
step
OUT
of
the
ELEVATOR
and
then
STOP
DEAD
IN
THEIR
TRACKS...their
EYES
RIVETED
TO
SOME-
THING
WE
CANNOT
SEE...
q-'
N
.
160
REV.
9-24-84
139
THEIR
P.O.V.
.
*469
...the
CLOCK...an
almost
EXACT
COPY
of
the
WATCH.
Several
stories
tall
in
its
own
right.
A
real
mother.
MADDIE
(finally)
Gee...it's
pretty
big
when
you're
standing
next
to
it.
...and
David
SAYS
NOTHING...although
we
HEAR
a
HARD
SWALLOW
on
the
SOUNDTRACK...
ON
DAVID
470
...as
he
looks
at
the
thing
once
more...takes
a
deep
breath
and
begins
to
peel
off
jacket
and
tie...
DAVID
.
Hickery,.dickery,
dock...
...and
TURNS...and
walks
over
to
the
lattice
work...and
'PULLS
HIMSELF
UP
and
OUT
OF
FRAME...
DAVID
(0.C.)
Hey!...this
isn't
so
hard!
MADDIE
(calling
up)
.
Really?
DAVID
(falling
back
down
into
FRAME;
looking
discouraged)
No.
Not
really.
...and
the
two
of
them
look
at
each
other...and
David
SHRUGS...
DAVID
.
Don't
worry.
I'll
do
it.
Just
gonna
take
me
a
second..
Y'know
men
have
all
these
slippery
hormones
that
women
don't
have...
,
makes
it
harder
for
them
to-
climb.
Did
you
know
that?
'
MADDIE
(watching
him)
Nope.
161
ON
DAVID
140
REV.
10-4-84
471
...as
he
takes
several
steps
back
to
get
a
RUNNING
START...
DAVID
Yeah.
The
further
you
evolve
from
apes
the
less
climbing
you
have
to
do
the
more
of
these
slippery
hormones
you
get.
(and
then)
Not
that
women
are
any
less
evolved.
1It's
just...they
did
come
second.
I
meéan...first
there
was
man...and
then
there
was
woman.
So
we're
about
fif-
teen
minutes
ahead
of
you
guys
terms
of
evolution.
(and
then)
You
believe
that?
-
Nope.
DAVID
Good
girl...
...and
with
that
he
RUNS...and
JUMPS...and
GRABS
onto
the
lattice
work...but
despite
the
fact
that
his
feet
are
too
big
for
the
holes
in
the
lattice
work,
he
mangages
to
once
again
PULL
HIMSELF
UP
and
OUT
OF
FRAME...and
once
again
slides
back
DOWN
INTO
FRAME...
ANOTHER
ANGLE
472
...as
MADDIE
SHAKES
HER
HEAD...PUSHES
DAVID
aside...hikes
up
her
skirt
and
grabs
the
lattice
work...
MADDIE
Pardon
me,
Mr.
Wallenda...
DAVID
What
are
you
doing?
...and
pulls
herself
UP
and
OUT
of
FRAME.
DAVID
(calling
up
to
her)
Wow.
You're
doing
beautifully,
kid.
I'm
right
behind
you.
Don't
look
back
to
try
and
see
me...just
know...I'm
right
in
back
of
you...and
yes...I
am
looking
up
your
dress.
162
S
REV.
9-24-84
141
'
ON
MADDIE
473
...as
she
makes
her
way
to
the
top
of
the
lattice
work...
the
HOLLYWOOD
HILLS
behind
her...all
kinds
of
traffic
below
her...
MADDIE
(looking
down;
not
pleased)
Well,
I'm
here.
What
do
I
do
now?
FROM
ABOVE
474
...hold
the
two
of
them
in
FRAME...her
at
the
top
of
the
lattice
work...him
down
below
on
the
roof...
DAVID
(calling.up
to
her)
.
'
Climb
onto
the
minute
hand
and
check
around
the
number
"4".
That's
where
the
hand
on
the
watch
is
pointing.
ON
MADDIE
475
...hanging
onto
the
lattice
work
and
looking
over
at...
THE
MINUTE
HAND
.
476
...more
than
an
easy
jump
away...
FOLLOWING
MADDIE
477
...as
she
JUMPS...MISSES
with
her
BODY...GRABBING
the
*
minute
hand
with
her
hands
and...
FROM
ABOVE
478
...hanging
on
for
dear
life...as
the
traffic
twenty
stories
below
rushes
by...
ON
DAVID
479
...watching
this...panicked...
163
——
CONTINUED
It's
okay.
move.
ON
MADDIE
142
DAVID
Don't
panic.
Don't
...not
believing
what
she's
hearing...
MADDIE
Don't
move?!
What
do
you
mean
"don't
move"?
ANOTHER
ANGLE
REV.
9-24-84
...as
David
TURNS...and
RUNS...out
of
FRAME
and
into...
THE
BOWELS
OF
THE
CLOCK
...duct
work,
steel
girders
and
a
huge
set
of
chimes
fill
this
abandoned,
three-story-tall
area
located
within
the
clock...
MADDIE
(0.C.)
(her
voice
echoing
off
the
wall)
David?
Where
did
you
go?
Where
are
you
going?
Don't
leave
me
here...
ON.
DAVID
...as
he
scans
the
old
paint
cans
and
garbage
dumpsters
and
oil
drums...and
kicks
aside
a
tarpaulin
to
DISCOVER...
A
LADDER
...tall
and
wooden
and
just
right...
ON
MADDIE
...still
hanging...clearly
terrified...
Day=-vid!!!!
MADDIE
479
480
481
482
483
484..
485
164
-Maddie
is-
143
CONTINUED
...and
SUDDENLY
we
HEAR
a
SOUND...
THE
MINUTE
HAND
...giving
way...beginning
to
tear
from
the
stem
in
the
center
of
the
clock...
ANOTHER
ANGLE
...as
David
returns
with
a
very
long
ladder...
MADDIE
David!
Hurry!
.+.which
he
leans
up
against
the
clock
next
to
where
-
DAVID
C'mon
Maddie!
Grab
onto
the
ladder
and
come
on
down.
MADDIE
I'm
afraid
to
move!
DAVID
Don't
be
afraid.
There's
noth-
ing
to
be
afraid
of.
MADDIE
I'm
trying...
...and
with
tries
to
move
herself...hand
over
hand...closer
to
the
ladder...and
SUDDENLY
we
HEAR
another
SOUND...and
‘the
minute
hand
SWAYS
again...and...
MADDIE
SCREAMS,,
.and...
THE
BOLTS
IN
THE
CENTER
OF
THE
CLOCK
485
486
487
488
489
165
{
REV.
9/11/84
144
THE
MINUTE
HAND
...with
Maddie
hanging
onto
it,
begins
to
GIVE...
DAVID
Hang
on
Maddie!
ON
MADDIE
...as
she
feels
the
HAND
move...and
reaches
and
GRABS
ONTO...
THE
LADDER
...and
as
she
climbs
onto
it...her
foot
slides
through
the
rungs
and
SMASHES...
.
THE
NEON
BULB
...in
the
number
four...and
Maddie
doesn't
even
notice.the
velvet
bag
that
tumbles
from
inside
the
light
fixture
drop-
ing
to...
THE
DECK
BELOW
MADDIE
...struggles
to
gain
her
balance
on
the
ladder...the
momentum
of
the
grab
PUSHING...
THE
LADDER
...0ff
the
surface
of
the
building
as...
MADDIE
...hangs
on
with
everything
she's
got
as...
LONG
SHOT
...the
ladder
begins
to
tip
and...
490
491
492
.
493
494
*495
*4952
*495E
*495C
166
Lo
REV.
9/11/84
(X)
144A
DAVID
*495;
...holds
onto
the
bottom...while...
THE
LADDER
*495]
...tips
further
away
from
the
building...finally...
ANOTHER
ANGLE
*495]
...falling...its
bottom
caught
under
the
lip
of
the
clock...
MADDIE
*496
hanging
on...the
street
and
the
cars
some
twenty
stories
below...
:
MADDIE'S
HANDS
:
497
...as
she
tightens
her
grip
on
the
ladder...
498
ON
MADDIE'S
FACE
...as
she
tries
to
see
what
is
below
her...
167
145
CONTINUED
DAVID
Don't
look
down...
...and
Maddie
TURNS
to
DISCOVER...
MADDIE'S
P.O.V.
...David...as
he
shimmies
out
onto
the
ladder...
DAVID
(holding
out
his
hand)
Maddie...
MADDIE
I'm
afraid
to
let
go!
'
DaviD
One
hand.
Just...give
me
one
hand.
MADDIE
Closer.
You
have
to
come
closer.
ANOTHER
ANGLE
...as
David
shimmies
out
several
inches
more...and
we
hear
the
LADDER
CREAK...
ON
THE
LIP
OF
THE
CLOCK
...as
the
LADDER
gets
CLOSER
and
CLOSER
to
its
edge.
ON
MADDIE
...as
she
lets
go
with
one
hand
and
reaches
forward
towards
David...
ON
THEIR
HANDS
...inches
apart...
498
499
500
501
502
503
168
REV.
10-4-84
146
ON
DAVID
...as
he
lurches
out
onto
the
ladder
inches
further...
ON
THE
END
OF
THE
LADDER
...as
it
creeps
closer
to
the
edge
of
the
lip
of
the
clock...
ON
THEIR
HANDS
...as
they
connect...and...
ON
MADDIE
...as
she
lets
go
from
the
ladder
with
her
other
hand
and...
LONG
...her
body
drops...now
suspended
by
one
arm
which
David
holds...and
we
WATCH...as
slowly...he
pulls
her
up...the
cars
and
the
pedestrians
racing
around
obliviously
below...
ANOTHER
ANGLE
...as
Maddie
climbs
over
David...and
shimmies
across
the
ladder
and
back
onto...
THE
ROOF
...breathless...shaken.
And
MOMENTS
LATER...David
shimmies
off
the
ladder...onto
the
roof
and
is
standing
by
her
side...
and
he
TOUCHES
her
SHOULDER...and
she
TURNS...and
buries
herself
in
holds
him...and
they
hold
each
other...
ON
MADDIE
...her
cheek
pressed
to
his
shoulder...catching
her
breath...
and
then...
MADDIE
(seeing
something)
David...
...and
she
tears
herself
away
from
him
and
moves
to...
504
505
506
507
508
509
510
511
169
147
THE
VELVET
BAG
512
...laying
on
the
deck...a
GERMAN
name
printed
in
gold
across
it...and
she
TURNS
and
hands
the
bag
to
David...who
opens
it
and
pulls
out...
DAVID
Diamonds!
ON
THE
DIAMONDS
513
...beautiful...they
catch
the
light...shimmering
and
shin-
ing
in
David's
hands...
VOICE
(0.C.)
Thank
you
both,
very
much.
ON
DAVID
AND
MADDIE
.
.
.
.
.
514
.
...as
they
TURN
to
DISCOVER...
.
HEINZ
-
515
...rising
from
the
rooftop
stairway...gun
drawn...
HEINZ
(holding
out
his
hand)
If
you'll
be
so
kind.
ANOTHER
ANGLE
516
...as
David
separates
from
Maddie...and
backs
away
from
Heinz...
.
DAVID
Come
get
it.
HEINZ
—
Don't
be
foolish,
young
man.
If
I
pull
this
trigger
and
you
die
I'll
still
have
the
diamonds.
Wouldn't
we
both
rather
I
avoid
that
unnecessary
step?
ON
DAVID
517
...as
he
SUDDENLY
TOSSES
the
pouch
to...
170
REV.
9-24-84
148
MADDIE
...who
CATCHES
it
handily...as...
DAVID
...rushes
back
to
the
ladder...sitting
on
it...quickly
inching
his
way
out
over
the
side
of
the
building...
DAVID
Maddie.
Little
help?
ANOTHER
ANGLE
...and
understanding
immediately...she
TOSSES
the
POUCH
of
DIAMONDS
back
to...
DAVID
...who
also
catches
them
handily
as
he
sits
on
the
ladder
some
one
hundred
and
fifty
feet
in
the
air...
DAVID
Like
I
said,
Pop...come
and
get
them.
ON
HEINZ
...watching
this...considering
this.
And
he
moves
SLOWLY
to
the
ladder...holstering
his
gun...wrapping
his
legs
around
the
edges
of
the
thing...
ON
DAVID
...not
believing
this...not
believing
that
the
man
will
actually
shimmy
out
there...
DAVID
You
gotta
be
yankin'
me...
.
ON
MADDIE
...watching...not
believing
either...
518
519
520
521
522
523
524
171
e
REV.
9-24-84
(X)
.
148A
ON
HEINZ
525
...now
firmly
placed
on
theladder...and
starting
to
make
his
way
towards
David...
K
172
REV.
9-24-84
149
CONTINUED
-
.
.
525
HEINZ
You
didn't
think
I'd
do
it.
You
wait
forty
years
to
become
a
rich
man...
(pulling
himself
a
little
closer)
...you'll
do
almost
anything.
ON
DAVID
526
...watching...
DAVID
Don't
do
this.
~
ON
HEINZ
.
.
527
.
.
closer...
HEINZ
I
have
no
choice...
ANOTHER
ANGLE
528
...and
we
WATCH...as
the
heavy
old
man
makes
his
slow
way
out
onto
the
ladder...and
we
can't
help
but
notice
the
way
the
ladder
dips
more
and
more
the
further
out
that
Heinz
ventures...
ON
DAVID
529
...and
this
is
not
lost
on
David...as
he
notices
his
body
sinking
lower
and
lower
as
the
heavy
man
makes
his
way
closer
and
closer
DAVID
.
This
is
crazy.
Don't
do
it.
ON
THE
LIP
OF
THE
BUILDING
530
...as
Heinz
moves
closer
and
closer...
173
REV.
9-24-84
150
CONTINUED
DAVID
No!!l!
ON
HEINZ
...as
he
remains
steadfast...the
determination
in
his
eyes...as
he
creeps
CLOSER
and
CLOSER...the
WOOD
of
the
ladder
MOANING
WITH
PAIN...
ON
DAVID
...as
his
body
sinks
further
and
further...
DAVID
No!
ANOTHER
ANGLE
...and
Heinz
is
just
a
foot
away
now...and
he
looks
at
David...and
smiles...and
HOLDS
OUT
HIS
HAND...
HEINZ
If
you
please...
...and
with
that
he
REACHES...LUNGES
for
the
POUCH...and
David
PULLS
BACK...and
the
LADDER
lists
and...
'
ON
THE
LIP
OF
THE
BUILDING
...the
CRACK
in
it
GIVES...and...
LONG
'SHOT
...as
the
LADDER
BREAKS
and...
530
531
532
533
534
535
174
R
HEINZ
151
ON
DAVID
...GRABS
the
LADDER
as
it
COLLAPSES
and
HITS...
THE
SIDE
OF
THE
BUILDING
...held
together
by
threads
of
wood...
DAVID
...holding
onto
a
rung
of
the
ladder
with
one
hand...the
other
CLUTCHING...
THE
POUCH
OF
DIAMONDS
-
...from
which
dangles...
-
...twenty
stories
up...hanging
by
the
pouch
with
both
hands
as...
-
DAVID
...the
strain
his
face...HOLDS
onto
the
ladder
with
a
single
hand...and
tries
to
hoist
up
Heinz
and
the
pouch
with
the
other...
DAVID
(to
Heinz)
Don't
let
go!
ON
HEINZ
...holding
onto
the
pouch...and
twenty
stories
below
him...
CARS
AND
PEOPLE
...hustling
and
bustling...
ON
THE
POUCH
...and
we
can't
but
notice...the
TIGHTER
Heinz
clings
to
the
pouch...the
more
it
stretches...and
as
it
does...
diamonds
drop
out...striking...
536
537
538
539
540
541
542
543
544
175
‘0
L/
152
HEINZ
.».in
the
face...on
the
nose...in
the
eyes...making
holding
on
all
the
more
difficult...
HEINZ
Can't...hold
on...much...
ON
THE
POUCH
...as
it
slips
from
his
fingers
and...
ON
HEINZ
...as
he
falls...TUMBLING
to
the
STREET
BELOW...and...
MADDIE
.
...SCREAMS...and...
DAVID
to
the
ladder...never
looking
down...just
hear-
ing
the
SOUND
of
HEINZ
screaming.
And
then
NO
SCREAM
at
ALL.
LONG
SHOT
...and
we
watch...and
AFTER
A
MOMENT,
David
begins
to
hoist
himself
back
up
the
ladder...making
his
way
closer
and
closer
to
the
top
where...
MADDIE
HANGING
OVER
the
EDGE
of
the
building...OFFERING
HIM
a
HAND...HELPING
to
PULL
HIM
UP...as
we...
DISSOLVE
TO:
TIGHT
ON
A
NEWSPAPER
...and
we
SEE
the
HEADLINE
"MODEL
TURNED
DETECTIVE
FOILS
HEIST".
And
next
to
it
a
PICTURE
of
Maddie
and
David.
And
we
PAN
off
of
the
PAPER
and
onto
the
SILVER
SERVING
SET
as
a
HAND
REACHES
into
FRAME
and
PICKS
UP
THE
SILVER
COFFEE
POT
and
we
PULL
BACK
to
REVEAL...
545
546
547
549
550
551
552
176
A
4
s
A
e
REV.
10-4-84
-
153
B
THE
BREAKFAST
ROOM
...where
Maddie
and
David
sit
looking
at
each
other...
MADDIE
(pouring
herself
a
cup
of
coffee)
So
what
was
so
urgent?
DAVID
Well
it
isn't
anything
urgent...
really...it's
just...in
light
of
all
we've
been
through...
together...I
would
formally...
officially...like
to
restate
my
proposition.
(and
then)
You.
Me.
Business.
_
MADDIE
,
.
(enjoying
this)
-
Gee...I
don't
know...
S
DAVID
AN
What's
not
to
know.
It
was
great.
It
was
terrific.
I
mean...we
make
a
terrific
team.
And
with
your
name...your
rep-
utation...
MADDIE
Let
me
think
about
it.
DAVID
Oh.
I
get
it.
I
know
what
it
is.-
(and
then)
let
me
just
tell
you
some-
thing.
This
case
has
been
a
real
growth
experience
for
me.
U
I've
changed.
I'm
a
different
guy.
I
know
what
you're
think-
.
ing.
You're
thinking
about
all
the
crummy
things
I
did
to
you.
Ruining
your
date
with
Doctor
Facefixer.
Entertainment
Tonight.
(MORE)
553
177
CONTINUED
REV.
10-4-84
154
DAVID
(CONT'D)
Stealing
the
watch.
well...
that's
the
old
me.
That's
the
me
before
I
knew
the
value
of
a
partner.
A
real
partner.
A
person
who
you
depend
on
with
your
life.
You
don't
play
with
people
like
that.
You
don't
lie
to
people
like
that.
you
don't
pressure
people
like
that.
MADDIE
David...I'm
just
going
to
have
to
think
about
it...
DAVID
(a-
long,
moment
°
of
his
own)
Well...how
long
do
you
think
you'll
need
to
think
about
it?
MADDIE
I
don't
know.
I'd
like...a
day.
DAVID
(rising
from
his
seat)
A
day?
A
whole
day?
Can't
you
just
think
about
it
now?
I
could
leave
the
room.
Go
read
the
paper.
MADDIE
(rising
from
her
seat)
David...It's
a
very
tempting
offer
but
I'd
like
a
day
to
think
about
it.
553
178
s
1
A
REV.
10-4-84
(X)
155
)
-
CONTINUED
553
DAVID
(as
he
TURNS;
and
begins
to
walk)
A
day...you're
right...a
day
is
not
an
unreasonable
thing
to
ask.
A
day?
A
day.
Sure.
(and
then)
Do
you
mean...like...this
time
tomorrow?
...and
the
two
of
them
make
their
way
into...
OMIT
553A-553B
THE
FRONT
DOOR
T
.
o
553C
...as
David
OPENS
it...
i
f.(-—\
MADDIE
I
suppose.
Yes.
I
would
have
an
answer
for
you
this
time
tomorrow.
REVEALING...
OMIT
554-556
OVER
A
HUNDRED
PRESS
PEOPLE
557
...staked
out
on
the
lawn
of
Maddie's
mansion...
179
ON
DAVID
156
REV.
9-24-84
...as
he
stands
by
the
front
door...surrounded...smiling
at
an
amused
Maddie...
...and
we...
DAVID
(calling
to
them)
People...there
isn't
going
to
be
any
statement
today...how-
ever
if
you
be
back
here
tomorrow...
THE
END
FREEZE
FRAME
558
180
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