"THE WRONG LIFE"
by
Charles Deemer
FADE
IN:
EXT.
PARK - ROAD - NIGHT
About
three in the morning. Pitch black in a park on the
outskirts
of city limits.
Above
the park, dark hills stretch into woods.
Distant
HEADLIGHTS as a car approaches. It enters the park
and
slows down.
The
rear door opens, and a BODY is pushed out of the car.
The
car speeds off.
The
body is clothed in expensive, casual clothing. An ascot,
a
vest, a watch chain, Italian shoes - quite a dandy.
The
deceased was a middle-aged man. He has a small bullet
hole
in his forehead.
EXT.
PARK - HILL - DAY (DAWN)
On
a hill overlooking the park, a makeshift lean-to has been
erected.
Out of it crawls DUNCAN, 30s, a homeless man. He
wears
an old, soiled jogging outfit.
He
stretches and runs in place to loosen up. Duncan bends
down
and talks into the lean-to.
DUNCAN
You're missing a beautiful sunrise
out here. Pinks right out of Homer.
Oh the rosy-fingered dawn! Right out
of the Impressionists. Incredible
sight, and you're missing it all.
LUKE (O.S.)
Won't be the first time.
Duncan
chuckles.
DUNCAN
Today you come jogging with me. It
can be the first day of the rest of
your life.
LUKE (O.S.)
Get out of here so I can go back to
sleep!
2.
Duncan
grins and starts off.
EXT.
PARK - ROAD - DAY (DAWN)
Duncan
jogs along a park road.
When
he reaches a garbage can, he slows down and jogs around
it,
looking to see if anything salvageable is on top.
He
continues along the road, checking the cans.
Then
he sees something ahead - and stops. He looks around,
as
if looking for an explanation for what he thinks he sees.
He's
completely alone. This settled, he carefully moves
forward
again.
He
reaches the body and looks down at it. He whistles.
Duncan
stoops down to look more carefully at the body. For
the
first time he sees a bullet hole in the man's head.
He
stands staring at the body. He looks around again. Still
alone.
He
stoops and takes out the man's wallet. He opens it.
Money,
lots of it. And nothing but credit cards.
Duncan
stands up, holding the wallet. He looks like he just
won
the lottery. He looks around one last time before
running
back toward camp.
EXT.
PARK - HILL - DAY (DAWN)
Duncan
reaches the lean-to. Luke is up and brushing his
teeth,
rinsing from a wine bottle filled with water.
DUNCAN
Good, you're up.
LUKE
How can I sleep with you yapping at
me?
DUNCAN
There's a body down there.
LUKE
Won't be the first time.
3.
DUNCAN
Not somebody passed out. I mean a
dead body. Bullet hole in his head.
Clean as a whistle, hardly any
blood
at all.
Luke
stares at him in disbelief.
DUNCAN
Come see for yourself.
EXT.
PARK - ROAD - DAY (DAWN)
Duncan
and Luke stare down at the body.
LUKE
You think he's somebody famous?
DUNCAN
Somebody rich anyway. Look at those
shoes.
LUKE
Too big for me. Looks about right
for
you, though.
Duncan
moves to the corpse and positions his badly worn
sneaker
against a well-shined alligator shoe.
LUKE
What'd I tell you? Try it on.
Duncan
grins and nods. He pulls off the shoe, then sits on
the
grass. He takes off his sneaker and puts on the shoe.
He
gets up and walks a few steps one way and the other. When
he
turns back to Luke, Luke is kneeling by the corpse.
LUKE
The wallet's gone. You was going to
keep it all.
DUNCAN
Bullshit, I was.
Duncan
takes out the man's wallet from his own pocket and
opens
it.
DUNCAN
There's over five hundred dollars
here. We go fifty-fifty, as always.
4.
LUKE
You were going to ditch me later
and
keep the whole goddamn thing.
He
starts away.
DUNCAN
Hey! Take your half. And help me
with him.
Luke
turns. They face one another in silence.
Duncan
holds out some money, and Luke comes back and takes it.
He
smells the bills as if they were fresh fruit.
LUKE
What do you suppose he did?
DUNCAN
Who the hell knows? Give me a hand
here.
LUKE
What're you doing?
DUNCAN
I want to get it out of sight.
LUKE
What for?
DUNCAN
The shoes fit -- I think the
clothes
will fit, too. I can't undress him
here, can I?
Duncan
and Luke go to the body and lift it up between them.
They
start dragging it back toward their lean-to.
EXT.
PARK - HILL - DAY (DAWN)
The
body is alongside the lean-to, half hidden by a blanket.
Luke
is smoking a butt and staring at it.
LUKE
What the hell's taking you so long?
Duncan's
voice comes from inside the lean-to.
DUNCAN (O.S.)
Almost done.
5.
LUKE
It's bad luck having a dead body up
here. I can't sleep here tonight
with
him around.
DUNCAN
We'll put it back where we found
it.
Duncan
comes out from behind the lean-to -- and looks like a
new
man. He's wearing the dead man's clothes from top to
bottom,
and the improvement -- despite his needing a shower
and
shave -- is striking. He looks almost respectable.
DUNCAN
What do you think?
LUKE
Amazing.
DUNCAN
I feel like a new man.
LUKE
Now can we put the body back?
DUNCAN
There's something I got to do first.
LUKE
Right -- we put your clothes on it,
then we drag it back.
DUNCAN
We can't put it back till tonight.
LUKE
Tonight!
EXT.
CITY CENTER - DAY
Duncan
is strolling down Main Street. He's a curious
figure
-- dressed expensively and yet needing a shave and
shower
pretty badly.
He
stops in front of a cafe window and looks inside.
INT.
CAFE - DAY
Duncan
is looking at the menu while a WAITRESS, 20s, waits
for
his order. Then his eyes light up.
6.
DUNCAN
Hang Town Fry! I can't remember the
last time I had one.
WAITRESS
Hang Town Fry then?
DUNCAN
You got it.
He
gives the waitress a big grin. She starts away but he
takes
her arm to stop her.
DUNCAN
"As long as you and I have
arms and
lips which are for kissing and to
sing with, who cares if some
one-eyed
son-of-a-bitch invents an
instrument
to measure Spring with?" e.e.
cummings. Should've seen the
sunrise
this morning! Absolutely glorious!
The
waitress grins and moves off.
EXT.
CAFE - DAY
Duncan
steps out, stuffed and content. He has a toothpick in
his
mouth.
The
waitress rushes out behind him.
WAITRESS
Sir? You left this on the table.
She
holds out a twenty dollar bill.
DUNCAN
Haven't you ever gotten a tip
before?
WAITRESS
Yeah, but not for more than the
meal
cost.
He
flashes a big grin. The waitress has to smile back.
EXT.
CITY - OLD TOWN - DAY
Duncan
is walking through an old part of town. Several
storefronts
are boarded up and out of business. This is
where
the street people congregate.
7.
An
old man, SHAKEY, 60s, approaches Duncan. Shakey is
pushing
a shopping cart stuffed with junk.
DUNCAN
Morning, Shakey.
Shakey
stops and squints.
DUNCAN
Don't you recognize me? It's Duncan.
I'm looking for Freddy.
INT.
ABANDONED WAREHOUSE - DAY
Duncan
enters an abandoned warehouse. A few birds inside
scatter.
DUNCAN
Freddy? You in here?
EXT.
FAST FOOD JOINT - DAY
Duncan
and FREDDY, 40s, sit on a bench outside a fast food
restaurant.
Freddy wears Army fatigues and cap, which are
much
the worst for wear.
A
pile of empty food wrappers is on the table in front of
Freddy.
He is finishing his fourth burger.
DUNCAN
Anyway, like I said, I need a
favor.
You know the ropes better than
anybody on the street, so I thought
I'd come to you first.
FREDDY
What you need, man?
DUNCAN
Some new I.D.'s.
EXT.
PARK - HILL - DAY
Luke
is looking down the hill at the park below. The body,
under
a blanket, is still alongside the lean-to.
Below,
a POLICE CAR cruises through the park. When it's
gone,
Luke drags some large sheets of cardboard they've been
saving
and drapes them over the body.
8.
INT.
PHOTO STORE - ROOM - DAY
Duncan
sits on a stool in front of a camera. He is having
his
photograph taken.
The
photographer is KITTY, 50s, is a woman who wears too
much
makeup.
KITTY
Next time you see Freddy, you tell
him he owes me a dinner. Now give
me
a big grin.
Duncan
does. A FLASH BULB goes off.
INT.
PHOTO STORE - BACK COUNTER - DAY
The
woman is working at a counter, under a bright light. She
is
putting Duncan's photograph on the driver's license of
the
corpse.
KITTY
You're not pulling my leg, are you?
I really don't care what you're up
to.
DUNCAN
Kitty, would I like to you? It was
in
the paper, an obituary and
everything.
Then his wallet ends up in a trash
bin. Course, they took all the
money
and credit cards -- but what the
hell, never know when you need a
new
I.D. Gives me a sense of security.
He
flashes her his grin. She regards him with disbelief,
grinning
back.
EXT.
PARK - LEAN TO - NIGHT
The
corpse, now dressed in Duncan's old clothes, is on the
ground
between Duncan and Luke.
LUKE
You've lost your marbles.
DUNCAN
Maybe.
LUKE
You don't even look like the guy.
9.
DUNCAN
Nobody's going to know that.
LUKE
The tellers at the bank will.
DUNCAN
Not at a branch he never goes to.
Trust me, we're going to make out
like bandits here. You can afford
to
get yourself into a program.
LUKE
That'll be the day.
DUNCAN
I'm your guardian angel, my friend.
Good fortune has given us a ladder
for climbing out of our situation.
This is just the first rung.
Duncan
moves to the corpse.
DUNCAN
You going to give me a hand?
EXT.
PARK - HILL - NIGHT
Duncan
and Luke are holding the corpse up between them.
They're
carefully moving it down the hill to the park.
The
corpse is dressed in Duncan's old clothes, and Duncan
still
wears the high-fashion of the deceased.
LUKE
Duncan? What if somebody thinks we
did it?
DUNCAN
How can I kill myself?
LUKE
You know what I mean.
DUNCAN
Nobody's gonna think anything.
Nobody's gonna pay any attention,
he's just another dead, homeless
drifter as far as the world is
concerned. I mean, I am.
10.
EXT.
PARK - ROAD - NIGHT
They
carry the corpse along the road, it's feet dragging
along
as they walk.
DUNCAN
Right about here.
They
let the corpse drop to the grass.
DUNCAN
Sleep well, my friend.
LUKE
Be days before I can sleep again.
DUNCAN
You'll be fine. Let's get out of
here.
Duncan
starts one way and Luke the other.
LUKE
Where you going?
DUNCAN
You think I'm sleeping up there
tonight? We're getting a hotel.
INT.
HOTEL - BATHROOM - NIGHT
Duncan
is in the shower, singing while he scrubs himself.
INT.
HOTEL - ROOM - NIGHT
Duncan
comes out with a towel wrapped around him.
DUNCAN
Next.
Luke
walks by, scruffy as hell, looking very out of place in
the
posh hotel room.
DUNCAN
We gotta get you a new wardrobe
tomorrow.
INT.
CONDO - DECK - DAY
TONY
DIMARCO, 40s, is reading the morning paper on his deck
overlooking
the city. He's turning the pages, looking for
something.
11.
He
puts down the section of the paper and picks up another.
Turning
the pages, looking.
But
nothing. He picks up his cell phone.
EXT.
INTERSTATE - DAY
The
same car that dropped off the body is heading down the
interstate.
INT.
CAR - DAY
BOBBY
and ZAFIRO are in the car. Bobby is driving. The car
phone
rings. Zafiro picks it up.
INTERCUT
PHONE CONVERSATION
ZAFIRO
Hello?
TONY
What're you trying to pull on me?
ZAFIRO
What're you talking about?
TONY
I mean there's not a goddamn mention
of it in the paper!
ZAFIRO
We took care of it. Look in a later
edition.
TONY
They found some bum in the park.
Couple gang members in old town, a
housewife got it from her old man -
but nothing about Jake.
ZAFIRO
Relax, Tony. Wait for the next
edition. We took care of it. No
problem.
INT.
CAR - DAY
Zafiro
hangs up.
12.
ZAFIRO
There's nothing in the paper yet.
Fuckin' Tony. His nerves, he's in
the
wrong business.
BOBBY
What's he want, express edition?
ZAFIRO
He practically accused us of
blowing
it. Fuck him.
EXT.
CITY - MEN'S CLOTHING STORE - DAY
Duncan
and Luke come outside. Both are wearing new leisure
suits
and carrying bags with their old clothes in them.
Freshly
shaven, they both look good.
As
they pass a garbage container on their way down the
sidewalk,
Duncan takes Luke's bag of old clothes and drops
it
in.
DUNCAN
Move back, it may spontaneously
combust.
They
continue down the street.
DUNCAN
After I get you in a program, I'm
moving on.
LUKE
What do you mean?
DUNCAN
Get a job. Maybe I'll be settled in
somewhere by the time you get out
of
treatment.
LUKE
You're serious here.
DUNCAN
Damn right I am. This is one of
those
epiphanies, my friend. One day
we'll
look back at this and call it a
gift
from God.
LUKE
If we don't end up in jail.
13.
DUNCAN
You got to work on your attitude.
Here's the hotel key. I'll meet you
there later.
LUKE
Where're you going?
DUNCAN
I still got things to take care of.
EXT.
RESIDENTIAL NEIGHBORHOOD - DAY
A
cab moves slowly down the street.
INT.
CAB - DAY
The
CABBY looks at Duncan in the rear-view mirror.
CABBY
Which one?
DUNCAN
There, it must be that one.
EXT.
RESIDENTIAL NEIGHBORHOOD - DAY
Duncan
gets out of the cab, which pulls away. He stares at
the
house in front of him. Then he slowly moves up the walk.
He
steps onto the porch. He rings the doorbell. No one
responds.
He
rings it again. Still no response.
Duncan
looks out to the street. It's safe.
He
brings out a set of keys, which he had taken off the
corpse.
He chooses a key and tries it in the door. Wrong key.
He
tries another. Bingo.
The
front door opens.
INT.
JAKE MATSON HOUSE - DAY
Duncan
moves into the house. The furnishings are more modest
than
the corpse's wardrobe suggested.
Duncan
looks around, visibly nervous to have broken in.
14.
He
moves to a cabinet in the living room and opens it. A
very
full bar, very expensive brands. He pours himself some
single
malt whiskey.
He
moves into the kitchen with the glass. He opens the
refrigerator.
Not much there. A bachelor's refrigerator.
Next
Duncan walks into the bedroom. This is the most
luxurious
room in the house. Large color TV. CD deck.
He
opens the closet. The man's wardrobe is first class.
Duncan
goes to a desk in the corner of the large bedroom. He
opens
a drawer.
Business
and personal papers. He starts rooting through them.
INT.
MATSON HOUSE - GARAGE - DAY
There's
a door connecting the house to the garage, and
Duncan
comes through it into the garage.
A
newer Mercedes is parked in there. Duncan gets into the car.
INT.
MERCEDES - DAY
Duncan
looks for the ignition key on the key-ring he took
from
the corpse. He finds it. Inserts the key, turns.
The
car starts up immediately, bah-room!
EXT.
JAKE MATSON HOUSE - DAY
The
garage door opens, and Duncan backs the Mercedes out.
He
stops and uses a remote on the seat to close the garage
door.
Then he backs out the driveway onto the street.
EXT.
CITY CENTER - DAY
The
Mercedes is cruising through the city.
INT.
MERCEDES - DAY
Duncan
has died and gone to heaven. Loud jazz plays on the
car's
stereo system.
There's
a box of cigars on the seat beside him, and Duncan
lights
up.
15.
EXT.
GAS STATION - DAY
Duncan
fills the Mercedes with gasoline. He gives a credit
card
to the ATTENDANT, who moves off to process it.
A
car parks across the pump from him. HOWARD gets out.
HOWARD
Duncan?
DUNCAN
Howard.
HOWARD
Man, are you looking spiffy! I've
been worried sick about you. So
where
are you working?
DUNCAN
I'm, ah, doing consulting work.
HOWARD
When I saw you, what was it?, six
or
eight months ago on the street -- I
can't tell you how bad I felt.
Goddamn corporations anyway. A man
of
your ability on the street, it just
tore my heart out. I'm so glad to
see
you back on your feet.
DUNCAN
Yeah, things are going well.
HOWARD
I can't wait to tell the guys.
The
attendant returns with the credit card.
ATTENDANT
Here we go, Mr. Matson.
Duncan
signs the slip. He sees that Howard is looking at him
funny.
DUNCAN
Company car.
HOWARD
As a consultant?
DUNCAN
I cut a tough deal, Howard. You
take
care.
16.
He
climbs into the Mercedes as Howard watches, smiling and
shaking
his head.
HOWARD
(after him)
Call me! We'll do lunch!
INT.
CONDO - DECK - NIGHT
Tony
is on the phone with Zafiro again. Zafiro and Bobby are
in
a motel.
INTERCUT
ZAFIRO
Course we guarantee our work.
TONY
Then you'd better get your ass here
cause something ain't right. The
only
body found in the park was a
homeless
man.
ZAFIRO
Well, fuck, I don't know what the
problem is, but we took care of
him.
TONY
Then where's the body?
ZAFIRO
How do I know? We'll see you in a few.
INT.
MOTEL ROOM - DAY
Zafiro
hangs up.
ZAFIRO
He says there was no fucking body.
BOBBY
What do we do now?
ZAFIRO
Shit, I don't know. Try and
straighten
it out.
INT.
HOTEL - NIGHT
Duncan
is at the front counter. He gives his key to a CLERK.
17.
CLERK
Come back again, Mr. Matson.
DUNCAN
I'm sure I will.
He
moves across the lobby where Luke is waiting for him.
LUKE
That was nice while it lasted.
DUNCAN
It gets nicer. Wait'll you see our
new pad.
EXT.
RESTAURANT - PARKING LOT - NIGHT
The
Mercedes is parked outside a fancy restaurant in the
suburbs.
INT.
RESTAURANT - PAY PHONE - NIGHT
Duncan
is at a pay phone. He's waiting for someone to answer.
A
WOMAN stands nearby, waiting to use the phone. Still no
answer.
Duncan
finally hangs up.
INT.
RESTAURANT - TABLE - NIGHT
Duncan
joins Luke at a table. Luke is finishing dessert.
DUNCAN
Coast is clear, nobody home.
LUKE
The man's dead, how can he be home?
DUNCAN
Just double-checking he ain't
married
or something.
LUKE
So what's the plan?
EXT.
PARK - ROAD - NIGHT
The
Mercedes stops and Luke gets out. Duncan pulls away and
Luke
starts up the hill to the lean-to.
18.
EXT.
CITY - STREET - NIGHT
The
car with Bobby and Zafiro cruises along.
INT.
CAR - NIGHT
Bobby
is driving.
BOBBY
How about we get a room and check
with him tomorrow?
ZAFIRO
I want to check out the park first.
EXT.
PARK - NIGHT
The
car cruises through the park. Ahead the headlights catch
Luke,
walking unsteadily down the road, drunk.
INT.
CAR - NIGHT
Bobby
is still driving.
ZAFIRO
What have we here?
EXT.
PARK - NIGHT
The
car passes Luke and stops. Zafiro and Bobby get out.
ZAFIRO
Boy, did you have a good time!
LUKE
You got that right!
ZAFIRO
You often hang around the park at
night?
LUKE
Used to. I'm moving!
ZAFIRO
Say, you didn't happen to know the
homeless man who died here the
other
day?
19.
This
puts Luke on guard, despite his intoxication. Who are
these
guys? He doesn't want to know.
Instinctively,
he turns and starts running up the hill
toward
the lean-to.
Zafiro
and Bobby chase him. They catch him halfway up the
hill.
Zafiro
grabs him and throws him to the ground.
LUKE
I didn't do it!
Zafiro
and Bobby exchange glances. This guy must know
something.
ZAFIRO
Tell me about the body.
LUKE
The guy's dead, what difference
does
it make? We're just trying to
improve our situation.
ZAFIRO
And how's that?
LUKE
I'm not saying any more.
Another
exchange of glances. Zafiro nods.
Bobby
takes out a switchblade.
EXT.
MATSON HOUSE - NIGHT
The
Mercedes pulls to the curb outside the house.
INT.
MATSON HOUSE - LIVING ROOM - NIGHT
Duncan
enters. Looks around. He looks right at home.
There's
a desk in a corner of the room. He goes to it and
sits
down. He opens a drawer and starts snooping around.
EXT.
MATSON HOUSE - NIGHT
A
car pulls up and parks. CANDY, 20s, attractive, gets out
and
heads for the door.
20.
INT.
MATSON HOUSE - LIVING ROOM - NIGHT
Duncan
has found bank and financial records and is putting
them
in a briefcase he found alongside the desk.
The
doorbell rings.
His
eyes dart to the front door. He looks worried.
The
doorbell rings again.
Duncan
closes the briefcase. He gets up and steps cautiously
to
the door.
EXT.
MATSON HOUSE - PORCH - NIGHT
Candy
waits for the door to open. When it does, she is
surprised
to face Duncan.
DUNCAN
May I help you?
CANDY
Where's Jake?
Duncan
doesn't know what to say. Candy takes out
identification
and flashes it at him.
CANDY
F.B.I.
Duncan
instinctively slams the door.
Candy
draws a pistol. She tries the door, locked. She shoots
the
lock.
INT.
MATSON HOUSE - LIVING ROOM - NIGHT
Duncan
is running to the desk when the shot fires. He grabs
the
briefcase and sprints for the rear exit.
Candy
comes in, gun still drawn, and faces an empty living
room.
She rushes toward the rear of the house.
EXT.
MATSON HOUSE - REAR - NIGHT
Duncan
races out, carrying the briefcase, and darts across
the
back yard.
Candy
comes out, looks one way and the other, hesitates,
then
hurries across the lawn.
21.
A
SERIES OF SHOTS - THE CHASE
Duncan
runs from one back yard to another, then to the
adjacent
street.
Candy
runs after him, still looking around, not sure where
he
is.
EXT.
MATSON HOUSE - NIGHT
Duncan
circles around to the front of the Matson house, gets
into
the Mercedes, and speeds off.
Candy
arrives too late to chase him.
EXT.
PARK - NIGHT
The
Mercedes cruises through the park and stops. Duncan gets
out
and climbs the hill.
EXT.
PARK - HILL - NIGHT
Duncan
reaches the lean-to. He sees the shadowy silhouette
of
Luke in a folding chair, his back to him.
DUNCAN
Change of plans, buddy.
He
moves around the chair to face Luke. And sees that his
throat
has been cut.
EXT.
FREEWAY - NIGHT
The
Mercedes roars down the freeway.
INT.
MERCEDES - NIGHT
Duncan
is sweating. He is running on panic and nerves.
EXT.
FREEWAY - NIGHT
Duncan
turns under a sign for the Interstate and an out-of-
state
city.
INT.
CONDO - DECK - DAY
Zafiro
and Bobby watch Tony eat breakfast.
22.
ZAFIRO
He said his buddy was the same size
and so on, and decided to take over
his identity.
BOBBY
The point being, Matson is in the
morgue under the other guy's name.
He
switched I.D.'s.
TONY
Hell of an imagination for a wino,
isn't it?
ZAFIRO
You want us to find the other guy?
TONY
Been thinking about that. What for?
Let the poor slob enjoy his good
fortune. It's no skin off our back,
and the Feds pay the bill -- at
least
till they find out. Serves them
right.
Long as Matson is in the morgue,
I'm
happy. You do good work.
ZAFIRO
Yes, we do.
EXT.
INTERSTATE - REST STOP - DAY
The
Mercedes is parked in a rest stop along the Interstate.
INT.
MERCEDES - DAY
Duncan
wakes up. He yawns and looks around.
EXT.
MERCEDES - DAY
Duncan
gets out of the car. He stretches. He starts for the
men's
room.
INT.
MEN'S ROOM - DAY
Duncan
stands at a urinal.
A
TRUCK DRIVER takes the adjacent one.
TRUCK DRIVER
The pause that refreshes.
23.
Duncan
nods.
TRUCK DRIVER
You headed north?
Duncan
nods again.
TRUCK DRIVER
You got heavy construction about
thirty miles up. Cars lined up to
beat hell. Messier than my ex's
lovelife.
DUNCAN
Thanks.
EXT.
DOWNTOWN CAFE - DAY
Mom's
Cafe at lunch hour. Pedestrian traffic passes by, some
enter.
INT.
DOWNTOWN CAFE - DAY
Candy
sits alone at a table. She looks up at the clock on
the
wall.
MARTIN,
40s, arrives and joins her.
CANDY
Something weird is going on.
MARTIN
With Matson?
CANDY
I don't know. This guy had a key
and
let himself in. He was wearing
Jake's
clothes, I think. He said Jake went
out of town. It was all very
strange.
MARTIN
Where is this guy?
CANDY
He drove off in Jake's Mercedes.
MARTIN
What about Matson?
CANDY
Not a word since a couple days ago.
Something doesn't feel right.
24.
Martin
thinks a minute.
MARTIN
Okay. You sit tight till I call
you.
EXT.
SMALL HIGHWAY - DAY
The
Mercedes is off the Interstate now and cruising along a
scenic
highway.
INT.
MERCEDES - DAY
Classical
music plays on the radio.
Duncan
looks a little more relaxed.
He
sees a turnoff to a small town and takes it.
INT.
SMALL TOWN - MAIN STREET - DAY
The
Mercedes drives slowly along Main Street.
The
town is only about three blocks long. Duncan parks in
front
of Mom's Cafe.
He
gets out and enters.
A
"Help Wanted" sign hangs prominently in the window.
INT.
MOM'S CAFE - DAY
The
cafe is busy during lunch.
SUPER
ON SCREEN: "FOUR MONTHS LATER"
INT.
MOM'S CAFE - DAY
Duncan
is working as a short-order cook. He is going under
the
name of Jake Matson.
Waiting
tables and picking up an order is RACHAEL, 20s.
The
owner, HANNAH, 50s, works behind the cash register.
RACHAEL
Jake, you going to the community
meeting tonight?
25.
DUNCAN
Sure am. You?
RACHAEL
Maybe we can grab a bite to eat
first.
DUNCAN
"One cannot think well, love
well,
sleep well, if one has not dined
well." Virginia Woolf.
RACHAEL
An old girlfriend?
DUNCAN
A dead writer.
He
grins as she picks up the order.
EXT.
MOM'S CAFE - NIGHT
Duncan
and Rachael come out of the cafe.
DUNCAN
I think Hannah has her feelings
hurt
when I eat someplace else.
RACHAEL
You can't eat all the time where
you
work. It gets monotonous.
DUNCAN
Tell her that.
RACHAEL
I have, believe me.
INT.
RESTAURANT - NIGHT
They
sit in a booth, sipping beverages before their meal.
Rachael
drinks a beer, Duncan drinks iced tea.
RACHAEL
May I ask you a personal question?
DUNCAN
Sure.
RACHAEL
Why'd you sell your Mercedes?
26.
DUNCAN
I needed the money.
RACHAEL
I can understand that. But I heard
people talking, you know? You drive
into town in a car like that and
seem
desperate for a job. People, some
people, wonder if you're running
from
something.
DUNCAN
I'm still here.
RACHAEL
So I noticed. Which leads me to
another question. How come you
never
asked me out yet?
DUNCAN
Well, here we are.
RACHAEL
One, it was my idea. Two, I meant
like on a date. I see the way you
look at me.
DUNCAN
It's that obvious, huh?
RACHAEL
I was hoping you'd see the way I
look
back.
DUNCAN
I guess I have.
RACHAEL
And...?
DUNCAN
I'm new in town. I guess I don't
feel
secure enough to do something like
that yet.
RACHAEL
Ask a girl to a movie! How much
security does that take?
DUNCAN
You're right. How about the late
show
after the meeting?
27.
RACHAEL
Now you're talking.
EXT.
HIGH SCHOOL - GYM - NIGHT
A
community meeting is being held in the gymnasium of the
high
school.
TOWNSPEOPLE
move into the building.
INT.
GYM - NIGHT
THREE
MEN and TWO WOMEN sit at a table in front of rows of
folding
chairs.
Duncan
and Rachael come in and sit down.
Chairing
the meeting is MARTHA, 50s, the city mayor.
MARTHA
The meeting will come to order
She
bangs her gavel a few times until people quiet down.
MARTHA
Thank you. Special meeting of the
Timberline County Task Force on
Education is now convened. Randy
will
start with new business.
RANDY,
30s, gets focus.
RANDY
Our first item of business concerns
a
special offer by Jake Matson, who
will make a brief statement now.
Duncan
stands up. Beside him, Rachael is flabbergasted that
he
is on the program.
RACHAEL
Why didn't you tell me?
Duncan
moves to the front of the room. All eyes are on him.
DUNCAN
Believe it or not, I'm not much for
speech making, so I'll make this
short and sweet.
SOMEONE IN AUDIENCE
That'll be a first!
28.
Everybody
laughs.
DUNCAN
Kidding around is one thing, formal
speech-making another. I'm going to
say what I have to say and sit back
down.
Scattered
applause.
DUNCAN
Anyway, cooking over at the cafe
lets
me in on a lot of town gossip, so I
think I've caught up on some issues
in town a lot sooner than I would
have otherwise. I know money's real
tight around here and so our
classrooms aren't hooked up to the
Internet yet, and since I have some
expertise in that, and believe I
have
access to a considerable donation
of
computers, I propose that we get
this
school wired as soon as possible.
This won't cost the district anything
but my volunteer time and labor,
and
whatever other volunteers I can
browbeat into helping me. I think
this is really important for the
kids.
Thanks.
After
a stunned silence, applause erupts as he moves back to
his
seat and soon Duncan faces a standing ovation.
Rachael
squeezes his hand.
INT.
MOVIE THEATER - NIGHT
In
the back row of the movie house, Duncan and Rachael are
making
out like a couple of teenagers.
EXT.
MOVIE THEATER - NIGHT
They
walk out, holding hands. They head down the street.
DUNCAN
What do you think?
RACHAEL
I like old black and white movies.
DUNCAN
Such as?
29.
RACHAEL
Anything with Robert Mitchum. His
chin is so cute! I get goosebumps
just thinking about him.
DUNCAN
Mitchum's chin, huh? Learn
something
new every day.
EXT.
TOWN - STREET - NIGHT
There's
a new closeness about them. By appearances, a lot of
ground
has been covered very quickly.
RACHAEL
How do you know about computers?
DUNCAN
I used to work at IBM. A few other
computer companies after that.
RACHAEL
And you're slinging hash here? I
don't get it.
DUNCAN
A long and complicated story.
RACHAEL
You know I want to hear it.
DUNCAN
Maybe when we have more time.
RACHAEL
What's the short version?
DUNCAN
My company downsized, I got
squeezed
out and couldn't find another job.
I'll tell you something I haven't
told anyone else. I was homeless
for
over a year.
RACHAEL
You're kidding me.
DUNCAN
God's truth. So you can see why
slinging hash looks pretty good to
me
right now.
30.
RACHAEL
Why here?
DUNCAN
There was a help wanted sign in the
window, and I needed a job. I'd say
the gods were looking out for me.
EXT.
MOTEL - NIGHT
They
walk to a motel door.
RACHAEL
Don't ask me in yet, okay?
DUNCAN
Okay.
They
embrace and kiss.
RACHAEL
See you in the morning.
DUNCAN
You can count on it.
INT.
MOTEL - NIGHT
Duncan
comes into his room and turns on the light.
Candy
is sitting in the room.
CANDY
Remember me?
Duncan
turns to exit and meets Martin coming into the room
behind
him.
MARTIN
Going somewhere?
Duncan
moves into the room.
DUNCAN
I don't want any trouble.
CANDY
Relax.
DUNCAN
I've got a really good thing going
here.
31.
MARTIN
This person whose shoes you've
stepped into, he works for us. So
that means now you work for us.
DUNCAN
What do you mean?
MARTIN
I'm sorry, I forgot to introduce
myself.
Martin
takes out a wallet and tosses it to him.
MARTIN
I assume you've heard of the
Witness
Protection Program.
Duncan
sees the FBI identification and badge.
DUNCAN
Jesus. You're FBI.
CANDY
The bad luck I was talking about.
MARTIN
Jake Matson is our prime witness in
a
case against Tony DiMarco, the
president of Construction Workers
Local 319. DiMarco's taken
kickbacks,
frauded the city, and put the union
in bed with the mob. Without
Matson,
without you, we don't have a case.
DUNCAN
Well, I'm not Jake Matson, so I
can't
help you.
MARTIN
I think you can.
DUNCAN
How?
Martin
smiles at him.
DUNCAN
I can't be him!
They'd know!
MARTIN
It would be their word against
ours.
Who do you think the jury will
believe?
32.
DUNCAN
They killed my best buddy. If I do
this, I'm next.
MARTIN
But nobody knows where you are.
DUNCAN
You found me, didn't you?
Martin
and Candy just look at him.
DUNCAN
What exactly are you asking me to
do?
MARTIN
To appear in court. And testify how
we tell you to testify.
DUNCAN
I can't do it.
MARTIN
What makes you think you have a
choice?
Duncan
looks trapped.
EXT.
MOTEL - DAY
The
door to Duncan's room opens and he peers out. One way.
The
other. The coast appears to be clear.
He
steps out, dressed for work. As soon as he's closed the
door,
the door to an adjacent room opens and Candy steps out.
CANDY
How are you this morning?
DUNCAN
Suddenly worse.
CANDY
You're safe here till the trial.
And
when it's over, hopefully you can
begin a new life.
DUNCAN
Hopefully isn't very encouraging.
INT.
CONDO - DECK - DAY
Zafiro
is reading the newspaper.
33.
Tony
and Bobby watch.
Zafiro
finishes and passes the paper to Tony.
ZAFIRO
They make it sound like they've
still
got Matson's testimony. There's no
way.
TONY
I've been thinking about that. What
if the Feds found the guy and plan
to
pass him off as Matson?
BOBBY
They can't get away with that, can
they?
TONY
They're the government, they can
get
away with anything they want. Who's
gonna challenge them if he's got
the
right papers, and they testify on
his
behalf, and the rest?
ZAFIRO
So we get rid of him, too, right?
BOBBY
If we can find him. Where the hell
would you start?
TONY
If he's using a credit card, we can
find him. What we do with him
depends
on what he has to say.
EXT.
COUNTRY ROAD - DAY
Duncan
jogging. Great forests of pine on each side of him.
SUPER:
"A MONTH LATER"
INT.
MOM'S CAFE - DAY
Duncan
is cooking for the lunch crowd.
Rachael
is waiting tables. When she comes to pick up an
order,
their eyes lock in a way that is noticed by Hannah.
Finally
she can't keep what's on her mind to herself. She
moves
next to Rachael as she picks up an order.
34.
HANNAH
How long has this been going on?
Rachael
starts to say something but is cut off.
HANNAH
Just be careful. He's a wonderful
guy -- but he's also a drifter who
appeared out of nowhere. He can
leave
the same way.
Rachael
forces a smile and heads off with an order.
She
delivers lunch to a table where Bobby and Zafiro are
seated.
BOBBY
You got hot sauce?
ZAFIRO
You don't put hot sauce on a
Reuben.
BOBBY
I like hot sauce.
RACHAEL
I'll bring it right away.
They
start eating their sandwiches.
A
CUSTOMER at the counter pays his bill.
CUSTOMER
Hey, Jake, that's one hell of a
nice
thing you're doing for the kids!
Jake
nods in thanks.
CUSTOMER
You gonna teach them poetry, too?
Duncan
ignores the question, his mood clearly darker now.
The
customer leaves.
At
the table, Zafiro and Bobby overheard this.
ZAFIRO
How many Jakes can there be in a
town
this small?
35.
EXT.
MOM'S CAFE - DAY
Duncan
and Rachael come out during a break after lunch.
Across
the street, Zafiro and Bobby pretend to be window
shopping,
watching Duncan with interest.
RACHAEL
When are you going to get the
computers?
DUNCAN
As soon as I can take a day off and
borrow a pickup.
RACHAEL
All you have to do is ask. You'll
have a dozen to choose from.
DUNCAN
I need to make some calls first, to
set everything up.
Rachael
notices something in his manner.
RACHAEL
Jake, is something wrong?
DUNCAN
Not a thing.
He
abruptly goes back inside the cafe.
Rachael,
puzzled, follows him.
Across
the street:
BOBBY
Maybe he gets off at five.
INT.
MOM'S CAFE - DAY
Duncan
scrubs the grill, finishing his shift.
Rachael
stops by on her way out.
RACHAEL
Call me tonight?
DUNCAN
Sure.
Rachael
leaves.
36.
When
she's gone, Hannah comes into the kitchen.
HANNAH
She's a very sweet girl.
Duncan
looks up in surprise.
HANNAH
She's like a daughter to me, so I
don't want you breaking her heart.
'Nuff said?
Duncan
stops working and takes off his apron.
DUNCAN
See you tomorrow.
EXT.
MOM'S CAFE - DAY
Zafiro
and Bobby again wait across the street.
Duncan
comes outside.
The
twosome start across the street but stop when Candy
suddenly
appears from out of a doorway and moves quickly to
Duncan.
CANDY
I thought I'd walk you home.
DUNCAN
Why?
Candy
doesn't reply. They walk down the street.
INT.
DRESS SHOP - DAY
Rachael
is in a dress shop, looking at items on a rack.
She
looks up and notices Duncan and Candy passing by on the
sidewalk.
She is stunned. Who is this woman?
A
clerk comes up.
CLERK
Can I help you find something?
Rachael
starts to reply but the words won't come. She's very
flustered
and confused.
37.
EXT.
STREET - DAY
As
Duncan and Candy walk to the motel, the twosome follow
them
from across the street.
EXT.
MOTEL - DAY
They
reach the motel, and Martin steps out of his room.
DUNCAN
I want to go to Portland to pick up
some computers.
MARTIN
No problem. Candy and I will come
along.
DUNCAN
I want to go alone.
MARTIN
Not a chance.
EXT.
MOTEL - STREET - DAY
The
twosome stare at the motel from across the street.
BOBBY
You think they're FBI?
ZAFIRO
By the smell, you betcha.
They
watch as the threesome go into the FBI's motel room.
EXT.
MOTEL - DAY
Duncan
comes out of the FBI room and goes to his door.
On
the other side of him stand Zafiro and Bobby. Zafiro has
the
key in a door lock.
ZAFIRO
Beautiful day, isn't it?
DUNCAN
Yes, it is.
Duncan
goes into his room.
38.
The
twosome go into the other adjacent room, sandwiching
Duncan
between opposing forces.
INT.
MOTEL - DUNCAN'S ROOM - NIGHT
Duncan
is watching TV when the phone rings. He stares at it.
It
rings again.
He
picks it up.
INT.
RACHAEL'S APT. - NIGHT
On
the other end is Rachael.
INTERCUT
DUNCAN
Hello.
RACHAEL
Hi.
DUNCAN
I was just about to call you.
RACHAEL
Oh?
DUNCAN
Listen, I know I must seem distant
all of a sudden--
RACHAEL
Yes, you do. Who is she?
DUNCAN
Pardon me?
RACHAEL
I saw you with her after work. I
was
in the dress shop when you passed
by
together.
Duncan
doesn't reply.
RACHAEL
I guess it's none of my business.
39.
DUNCAN
No, it is your business. Are you in
bed?
RACHAEL
No.
DUNCAN
Can you meet me for a drink?
INT.
COCKTAIL LOUNGE - NIGHT
Rachael
looks at Duncan across the small table in utter
disbelief.
Duncan
stares at the candle on the table.
RACHAEL
Jake, I don't know what to say. I've
heard about the witness protection
program on television, but I never
imagined I'd ever meet anyone
involved
in it. It sounds so dangerous.
DUNCAN
It is. Which is why I'm thinking I
shouldn't be seeing you.
RACHAEL
Is that the only reason? Because if
things have happened too quickly
for
you and everything--
DUNCAN
It's the only reason. Rachael, I
wish
I was ... free to do what I feel.
RACHAEL
When's the trial?
DUNCAN
They say in a month or so.
RACHAEL
It's good they're here to protect
you, though.
Duncan
doesn't reply. He stares at the candle.
40.
EXT.
COCKTAIL LOUNGE - NIGHT
They
come out and go to their cars, which are parked side by
side.
They embrace.
RACHAEL
Please don't let this change
anything.
Please don't shut me out.
Duncan
looks at her silently. Then he kisses her.
Across
the way, Zafiro and Bobby watch from their car.
Zafiro
sits behind the wheel for a change.
Duncan
and Rachael break their embrace and get into their
cars.
Rachael
pulls away first. Then Duncan.
Then
Zafiro and Bobby.
EXT.
STREET - NIGHT
Zafiro
follows Duncan back to the motel.
EXT.
MOTEL - NIGHT
Duncan
gets out as Zafiro's car pulls in beside him.
As
he puts the key in his door, Zafiro and Bobby
hurry over.
ZAFIRO
How about a night cap?
DUNCAN
No, thanks.
ZAFIRO
I don't like rude.
Suddenly
Bobby has Duncan in an arm-lock and pushes him into
the
adjacent room.
INT.
MOTEL - ZAFIRO'S ROOM - NIGHT
Bobby
shoves Duncan in across the room. The door slams.
Zafiro
stares at Duncan.
DUNCAN
Who are you?
41.
ZAFIRO
The question is, Who the fuck are
you?
Who are you to be impersonating
Jake
Matson? That's the question.
DUNCAN
I can explain....My name's Duncan
Adams.
ZAFIRO
So how is it you end up being Jake
Matson?
DUNCAN
That's a long story.
EXT.
MOTEL - LATER - NIGHT
Everyone
comes out of Zafiro's room and gets into Zafiro's
car.
Duncan goes into the back with Bobby.
INT.
TONY'S CAR - NIGHT
Zafiro
is behind the wheel.
DUNCAN
They'll miss me at work in the
morning.
ZAFIRO
So what?
DUNCAN
They'll think something's wrong.
They'll have people looking for me.
Zafiro
thinks a minute.
ZAFIRO
You leave a note. Family emergency.
EXT.
MOM'S CAFE - NIGHT
Duncan
tapes a note on the front door. Then he gets back
into
the car.
Zafiro's
car pulls away from the cafe.
42.
EXT.
HIGHWAY - NIGHT
The
highway is deserted at this late hour. Zafiro's car
speeds
along.
INT.
ZAFIRO'S CAR - NIGHT
Bobby
is cat-napping.
Zafiro,
behind the wheel, looks at Duncan in the rear view
mirror.
ZAFIRO
Want to know why I'm not killing
you
outright?
DUNCAN
I'm not sure. I don't want you to
change your mind.
ZAFIRO
Because Tony wants to talk for you.
He thinks you're clever.
He
looks in the mirror for Duncan's reaction. Duncan is
silent.
ZAFIRO
I just think you're stupid. Up to
me,
you're history.
Duncan
doesn't respond.
EXT.
CITY - NIGHT
Zafiro's
car enters the city. Early morning hours now, the
streets
are deserted.
INT.
TONY'S CONDO - DINING ROOM - NIGHT
Tony
sits at a formal dinner table. He wears a silk robe.
The
dinner before him is first-class, various luxuries
spread
across the table. He dines alone but looks like he
can
handle it all.
ANGELO,
a gofer, brings Zafiro, Bobby and Duncan into the
room.
43.
TONY
So this is the famous impersonator.
You realize how upset you got me
when
I thought Matson ain't dead?
DUNCAN
I'm sorry about that. You want me
to
explain how it all happened?
TONY
Give me the movie version.
INT.
TONY'S CONDO - LIVING ROOM - NIGHT
Angelo
is pouring drinks for the others, who are sprawled
around
on stuffed furniture.
TONY
I like your imagination, Duncan. On
the streets, I'd do the same thing
myself. I can use a man with
imagination.
DUNCAN
I'm not looking for a job.
TONY
Short order cook is enough for you?
I don't believe it. You got access
to
Matson's money -- why not take it
easy?
DUNCAN
I got things to do.
TONY
What, for instance?
Duncan
thinks a minute.
DUNCAN
Wiring the local school to the
Internet.
TONY
Tell me about that.
DUNCAN
I still know people in the
industry.
They turn over computers every few
years, store them, trash them. The
kids would love computers like
that.
44.
TONY
How many kids in that podunk
school?
DUNCAN
Not many. Fifty, maybe less.
TONY
How much fifty new computers cost?
DUNCAN
Depends how high end you go. Fifty
thousand up.
TONY
So a hundred grand could buy the
kids
good computers?
DUNCAN
Great computers.
TONY
Angelo, write a check. Who is this
to
be made out to? Not to you, I don't
trust you.
Tony
laughs like hell. He doesn't stop until Zafiro and
Bobby
join him.
TONY
Who gets the check?
DUNCAN
I'd have to make some phone calls
first.
TONY
Angelo, get him the phone book.
DUNCAN
During business hours.
TONY
You don't know anybody you can call
now? I sleep during business hours.
DUNCAN
Let me think ... Yes, there is
someone ...
EXT.
MICROTECH SYSTEMS - DAY
Establishing.
45.
INT.
MICROTECH SYSTEMS - OFFICE - DAY
Duncan
is in an office with Howard, his former co-worker.
HOWARD
This is a great windfall for us.
Glad
you thought of calling me.
DUNCAN
Running into you was fortunate.
BILL
All we ask for is credit, so we get
our share of PR from this. How many
computers do you need?
EXT.
TRUCK RENTAL PLACE - DAY
Duncan
is looking at small trucks.
EXT.
MICROTECH SYSTEMS - LOADING DOCK - DAY
Fifty
computers and peripherals are being loaded into the
back
of a truck as Duncan watches.
EXT.
HIGHWAY - DAY
The
truck zooms down the highway.
INT.
TRUCK - DAY
Behind
the wheel, Duncan looks pensive.
EXT.
MOTEL - DAY
The
truck pulls into the motel parking lot.
As
Duncan jumps out of the cab, Martin and Candy come out of
their
room. Martin grabs Duncan's arm.
MARTIN
What the hell you think you're
doing?
DUNCAN
I picked up the computers.
MARTIN
You're taking a goddamn risk out
there alone, don't you realize
that?
46.
CANDY
Martin, relax. He made it okay.
MARTIN
What are you, a good samaritan?
A
SERIES OF SHOTS
of
Duncan setting up a computer lab at school.
--The
computers are unloaded.
--A
room is prepared for becoming a computer lab.
--Computers
are installed in the new room.
--Kids
flood into the room, each kid with his or her own
computer,
and a few computers to spare.
--Duncan
and teachers beam at their success.
INT.
MOM'S CAFE - DAY
Duncan
takes off his apron at the end of the day.
HANNAH
You need a few days off?
DUNCAN
Not really.
HANNAH
You look exhausted. You can have
them
whenever you need them.
DUNCAN
I'll keep that in mind.
EXT.
MOM'S CAFE - DAY
Duncan
comes out to find Rachael waiting for him.
RACHAEL
Can we walk a bit?
DUNCAN
Sure.
They
start walking.
47.
RACHAEL
That's such a wonderful thing you
did.
I had no idea you'd get a computer
for every kid.
DUNCAN
Just lucked out.
RACHAEL
It doesn't feel as good as it should,
does it? Because of the stress of
the other.
DUNCAN
You're right on.
RACHAEL
Any word on the trial?
DUNCAN
No.
They
continue on.
EXT.
MOTEL - DAY
Duncan
and Rachael are embraced and kissing outside Duncan's
room.
INT.
MOTEL - FBI ROOM - DAY
Candy
watches them at the window. Martin comes up behind her.
MARTIN
You know about this?
CANDY
I had a feeling.
MARTIN
Going to be a problem?
CANDY
I don't know.
INT.
MOTEL - DUNCAN'S ROOM - NIGHT
Duncan
combs his hair when there's a knock on the door.
When
he opens it, Martin walks in. He carries a fat folder
of
papers. He hands it to Duncan as he talks.
48.
MARTIN
Trial starts in a couple weeks, so
it's time to get ready. Read this,
it'll give you the background on
the
case. We need to start regular
rehearsals of your testimony. Seven
to nine each night work for you?
Duncan
tosses the folder onto the bed.
DUNCAN
This won't work. They know the real
Jake Matson is dead.
MARTIN
Probably not, but it doesn't
matter.
DUNCAN
They know who I am. They were here.
MARTIN
What are you talking about?
DUNCAN
They took me to see Tony DiMarco.
MARTIN
DiMarco!
DUNCAN
He wrote the check for all the
computers. He even hinted at a job.
MARTIN
You probably think this is funny.
DUNCAN
It's the truth. They know who I am.
They know what I did.
Martin
paces, trying to digest this bombshell.
DUNCAN
If I go through with this, they'll
kill me.
MARTIN
They were going to do that anyway.
That's why it's called the witness
protection program.
Duncan
goes white.
49.
EXT.
MOVIE HOUSE - NIGHT
Duncan
and Rachael come out of the movie. They walk a while
in
silence.
At
an intersection, Rachael takes his hand and turns him
down
a side street.
EXT.
CITY PARK - NIGHT
They
enter the small city park. Rachael kisses Duncan long
and
slowly.
RACHAEL
Tell me what's bothering you.
DUNCAN
The trial's scheduled.
RACHAE
That must be scary.
DUNCAN
They know who I am. They were here.
She
studies him. Then she moves into his arms to hold him
tightly.
INT.
COCKTAIL LOUNGE - NIGHT
They
sit at a corner, secluded table.
DUNCAN
A part of me wants to run. I'm
going
to end up running anyway. Why go
through all that to end up the same
way?
RACHAEL
Don't you think they can protect
you?
DUNCAN
I don't know. What would you do?
RACHAEL
God. I can't imagine. It's so over-
whelming.
DUNCAN
If I run, would you go with me?
The
question surprises her. She is speechless.
50.
DUNCAN
I guess that's a selfish thing to
ask.
RACHAEL
It's a very sweet thing to ask if
you
mean it.
DUNCAN
I wouldn't have asked if I didn't.
RACHAEL
I'd have to think about it.
INT.
MOM'S CAFE - DAY
Rachael
picks up an order. Duncan smiles at her. She smiles
back.
Hannah
sees this.
The
phone rings. Hannah answers it.
HANNAH
Mom's Cafe. ... Just a minute. ...
Jake, it's for you!
Duncan
comes out of the kitchen to the phone.
DUNCAN
Hello? ... I'll be right there.
He
hangs up.
Hannah
is waiting to hear what's going on.
DUNCAN
I'm needed at the school.
HANNAH
Go on, take the jeep.
EXT.
SCHOOL - DAY
The
jeep pulls in front of the school and parks.
Duncan
gets out and hurries inside.
51.
INT.
SCHOOL - DAY
Duncan
enters the administration office to find Tony and
Angelo
with GEORGE MICHAELS, the school principal, and the
mayor,
Martha.
TONY
Here's the man of the hour!
DUNCAN
Mr. DiMarco.
George
and Martha beam at him with great pride.
DUNCAN
I take it you've met our
benefactor.
GEORGE
Mr. DiMarco has filled us in on
your
wonderful plans.
DUNCAN
He has?
Duncan
looks at Tony for a clue.
TONY
Which I think we should finalize
over
lunch.
MARTHA
I just want to thank you both for
such incredible generosity.
Martha
shakes Duncan's hand, then Tony's. George does the
same.
EXT.
SCHOOL - DAY
Duncan
and DiMarco exit the school.
DUNCAN
What's going on?
TONY
You tell me. The paper this morning
said Jake Matson is going to
testify.
Duncan
closes his eyes, as if this would make everything go
away.
52.
INT.
MOTEL - DUNCAN'S ROOM - DAY
Angelo
has Duncan against the wall, slapping him with an
open
hand.
Slap,
slap, slap!
INT.
MOTEL - FBI ROOM - DAY
Candy
is in the room alone. She has her ear to the wall,
listening
to what is happening next door.
INT.
MOTEL - DUNCAN'S ROOM - DAY
Tony
watches as Angelo continues to work Duncan over.
TONY
Enough, Angelo.
Angelo
stops.
Duncan
moves to the bed and collapses on it.
TONY
I like you, but I don't like any
double-cross. You testify and you
are
as dead as Jake Matson. You
understand
me? I'm a church-going man,
understand
what I'm saying? I don't murder
somebody without reason, but you're
coming close to forcing my hand
here.
On
the bed, Duncan sits up.
DUNCAN
I have no control over what they
put
in the paper.
TONY
Good answer, cause it's true. But
it
don't mean I can trust you. You
have
to earn trust, know what I mean?
DUNCAN
Tell me how.
TONY
You get out of bed with the Feds.
You
hear what I'm saying? You want to
work for me, come talk. I got just
the project for you.
53.
Duncan
nods.
Tony
studies him. Then he nods to Angelo, and they leave.
Duncan
rolls over, and his hands go to his face.
INT.
MOTEL - FBI ROOM - DAY
Candy
looks out the window. She sees Tony and Angelo get
into
the car and leave.
She
darts for the door.
INT.
MOTEL - DUNCAN'S ROOM - DAY
The
door has been left open, and Candy enters and rushes to
the
bed.
Duncan
rocks back and forth in pain.
CANDY
Come on, we're going next door.
She
helps him get up. She supports him as they head out.
INT.
MOTEL - FBI ROOM - DAY
Candy
is wiping Duncan's brow with a damp face cloth when
Martin
comes in.
He
carries a package of take-out food. Dinner on the road.
MARTIN
What the hell happened?
DUNCAN
They saw the paper.
INT.
MOTEL - FBI ROOM - NIGHT
Duncan
naps on the bed.
Martin
and Candy huddle close at a table, speaking in hushed
tones.
Duncan
stirs on the bed.
He
slowly sits up. It takes him a moment to get his bearings.
Duncan
slowly gets to his feet. He's still a bit unsteady.
54.
DUNCAN
Goodnight.
He
takes a tentative step toward the door.
MARTIN
We're changing the plan.
DUNCAN
There's still a plan?
MARTIN
I want you to go to work for Tony
DiMarco.
DUNCAN
But really for you.
MARTIN
You'll be our inside man. It
shouldn't
take you more than a month or so to
find out what we need.
DUNCAN
What about the trial?
MARTIN
You'll disappear, we drop the case.
Because we're going for bigger fish
here.
DUNCAN
I suppose I don't really have a
choice, do I?
MARTIN
Of course you do. If you don't want
to help us, then we won't help you.
No more protection. You're on your
own.
DUNCAN
You guys don't quit.
MARTIN
Your tax dollars in action.
INT.
MOM'S CAFE - OFFICE - DAY
Duncan
stands in Hannah's small office. She sits behind a
cluttered
desk.
HANNAH
She's all yours.
55.
DUNCAN
Appreciate it.
Duncan
gives her money. Hannah gives him the keys and
registration
to the jeep.
HANNAH
I'll be honest you. It doesn't
surprise me that you're leaving.
You've got too much talent to be
stuck behind a stove, and what else
is there in a town like this for
you?
But the timing surprises me.
DUNCAN
It's sort of a family emergency,
like
I said.
HANNAH
I appreciate you telling me. More
than one cook has walked out
without
notice.
DUNCAN
I'm sorry it had to be this way. I
don't have control over the
situation.
HANNAH
Have you told Rachael?
DUNCAN
Not yet.
EXT.
CITY PARK - DAY
Duncan
and Rachael walk through the park after work. Suddenly
Rachael
grabs Duncan's arm and stops.
RACHAEL
Take me with you. I can wait tables
anywhere, and I've been stuck in
this
town too long.
DUNCAN
Rachael ...
RACHAEL
I know what you're gong to say.
It's
dangerous. Well, as far as I'm
concerned, it's not as dangerous as
trying to face myself if I let you
walk out of here alone.
56.
DUNCAN
You really mean that.
RACHAEL
Of course I do. Jake -- Duncan, I
don't want to lose you.
Duncan
studies her. Then he takes her in his arms.
INT.
RACHAEL'S HOUSE - BEDROOM - NIGHT
For
the first time, Duncan and Rachael make love. There is a
tender
magic between them.
EXT.
MOTEL - DAY
The
jeep is backed up in front of Duncan's motel door. The
trunk
is open.
INT.
MOTEL - DUNCAN'S ROOM - DAY
Duncan
finishes pack a suitcase on the bed as Martin and
Candy
watch.
MARTIN
She's not going with you.
DUNCAN
I told you how it's going to be.
Take
it or leave it.
CANDY
You don't understand how much
danger
you're putting her in.
DUNCAN
She's going to follow me anyway.
She's well aware of the situation.
MARTIN
You shouldn't have told her.
DUNCAN
Too late to change that now.
CANDY
(to Martin)
Actually, maybe this is better.
He'll
look more natural showing up with a
girlfriend.
57.
DUNCAN
Jesus, the way you people think.
He
slams the suitcase shut.
EXT.
MOTEL - DAY
Duncan
comes out and throws the suitcase into the trunk. He
slams
the lid.
He
walks to the driver's side and gets in. Martin and Candy
follow
him.
MARTIN
We'll be staying at the downtown
Marriott. You meet us in the bar at
seven on Saturday night. That
should
give you time to settle in.
Duncan
glares at him and starts the engine.
MARTIN
Your ass is grass without our help.
DUNCAN
My ass is grass with it.
The
jeep peels out.
Martin
and Candy watch him go.
CANDY
We just signed his death warrant.
MARTIN
He signed it himself when he found
Matson's body.
EXT.
MOM'S CAFE - DAY
The
jeep is double-parked in front of the cafe. The engine
idles.
Hannah
and Rachael are embraced.
A
number of patrons are also outside to say their goodbyes.
HANNAH
I'm so glad it worked out for you
two.
She
gets into the jeep beside Duncan.
58.
HANNAH
Jake, you keep your chin up!
Duncan
nods and puts the jeep in gear.
HANNAH
Write me, Rachael!
Rachael
waves as the jeep pulls away.
EXT.
HIGHWAY - DAY
The
jeep moves down the highway.
INT.
JEEP - DAY
Duncan
and Rachael are quiet as the jeep races along the
highway.
Rachael
reaches over and touches his arm.
EXT.
HIGHWAY - DAY
The
jeep speeds down another section of highway when it
passes
a HIGHWAY PATROL CAR.
Lights
flashing, the patrol car takes chase.
INT.
JEEP - DAY
Duncan
sees the lights in the rear-view mirror.
DUNCAN
Damn it. I'm speeding.
EXT.
HIGHWAY - DAY
Duncan
pulls to the side of the road and stops.
The
patrol car pulls behind him. An OFFICER gets out and
leisurely
steps to Duncan's window.
Duncan
rolls down the window.
OFFICER
License and registration, please.
DUNCAN
I was ten over the limit, wasn't I?
59.
OFFICER
Sir, I need to see your license and
registration.
Duncan
reaches in front of Rachael and pulls the registration
from
the glove compartment.
He
slides a driver's license out of his wallet.
DUNCAN
Registration's not in my name yet.
I
just bought it.
The
officer takes them and walks slowly back to his patrol
car.
INT.
JEEP - DAY
Duncan
looks worried.
INT.
PATROL CAR - DAY
The
officer punches some numbers into a computer and waits
for
the results.
When
the results come up, he is suddenly attentive. He picks
up
the car phone.
INT.
JEEP - DAY
Duncan
and Rachael wait nervously.
The
patrol officer returns.
OFFICER
Step out of the car, Mr. Matson.
DUNCAN
Is something wrong?
OFFICER
Do as I say, sir.
EXT.
HIGHWAY - SIDE OF ROAD - DAY
Duncan
gets out. Suddenly the officer is treating him like a
criminal
suspect.
60.
OFFICER
Turn around, spread your legs, and
put both hands on the top of the
jeep.
DUNCAN
Officer, I --
OFFICER
Do it now!
Duncan
obliges.
Rachael
comes out of the jeep and quickly moves around to
face
the officer.
RACHAEL
I demand to know what this is
about.
INT.
SMALL TOWN - POLICE HQ - DAY
Through
a large window, Duncan and Rachael are visible
sitting
at a table in an interrogation room. They have coffee.
Watching
them are the officer and ROGER STANLEY, who wears a
suit.
ROGER STANLEY
I'd like to see them alone.
OFFICER
No problem.
INT.
POLICE HQ - INTERROGATION ROOM - DAY
Stanley
enters the room.
ROGER STANLEY
Mr. Matson, I'm Roger Stanley with
the WPP. And this is ... ?
Rachael
speaks up before Duncan can introduce her.
RACHAEL
Rachael Armstrong.
ROGER STANLEY
Nice to meet you. I just talked to
Martin Hamilton on the phone, and
I'm
sorry about the misunderstanding
here.
I didn't realize you were on
assignment.
61.
DUNCAN
Does that mean we can go?
EXT.
POLICE HQ - DAY
Stanley
escorts Duncan and Rachael to the jeep.
ROGER STANLEY
You're one of the great unsung
heroes
in my book.
DUNCAN
I didn't volunteer, believe me.
ROGER STANLEY
I know, it must be hard.
DUNCAN
I used to be happily homeless,
living
in a city park.
Stanley
looks puzzled as Duncan stoops into the jeep.
EXT.
HIGHWAY - DAY
The
jeep is back on its way.
INT.
TONY'S CONDO - LIVING ROOM - NIGHT
Duncan
and Rachael sit across the large room from from Tony.
Angelo
stands, watching.
TONY
You know what you got? Balls, to
come to me with a story like that.
DUNCAN
It's the truth.
TONY
But I don't know that because I
don't
know you. What's your motive? I ask
myself. What's in this for you?
DUNCAN
I don't want to help them, and I
don't want to work for you. That's
the bottom line. My offer will
accomplish that.
62.
TONY
Maybe it will. But what's in it for
me?
DUNCAN
I said I'd feed them whatever
information you want. I'll be
wired,
you can mislead them or whatever
else
works in your favor.
Tony
grins.
TONY
You've got a real creative mind. I
could use a man like you.
DUNCAN
No way. I'll do this, and then
you'll
help me disappear forever.
TONY
I have to think about this. You get
yourself some dinner and come back.
INT.
HOTEL - RESTAURANT - NIGHT
Duncan
and Rachael are seated at a secluded table.
Angelo
stands across the way, watching them.
RACHAEL
How do you think it went?
DUNCAN
Good question.
INT.
TONY'S CONDO - LIVING ROOM - NIGHT
Angelo
is pouring champagne for Tony, Duncan and Rachael.
Tony
raises his glass.
TONY
To a short but fruitful
relationship.
He
grins but Duncan's smile looks forced.
Everyone
drinks.
63.
TONY
You're one crazy sonofabitch, you
know that? You tell the Feds you'll
be working in my office. But we
don't
talk the details until tomorrow.
Tonight you get a good night's
rest.
If that is possible with such a
beautiful companion.
He
leers at Rachael.
INT.
CONDO - DECK - NIGHT
Tony
is on the phone with someone. He has the newspaper in
front
of him.
A
headline reads, "Federal witness disappears, trial delayed."
TONY
Of course I got it on tape.
Anything
that happens in my office is on
tape....I understand....Do I sound
worried? A few months from now,
you'll be thanking me.
INT.
HOTEL - CHECK IN DESK - NIGHT
Duncan
is checking them in. He signs the register.
The
DESK CLERK hands him two keys.
Duncan
gives one to Rachael.
INT.
HOTEL - HALLWAY - NIGHT
Duncan
and Rachael at adjoining rooms, keys in the locks.
RACHAEL
Goodnight.
DUNCAN
See you in the morning.
INT.
HOTEL - RACHAEL'S ROOM - NIGHT
Rachael
in bed. She rolls over and stares at the wall
between
their rooms.
64.
INT.
HOTEL - DUNCAN'S ROOM - NIGHT
Duncan
on his side, staring at the same wall.
EXT.
MARRIOTT HOTEL - NIGHT
Duncan
enters.
INT.
MARRIOTT HOTEL - RESTAURANT - NIGHT
Duncan
enters, spots who he's looking for.
DUNCAN
(to hostess)
I found my party.
INT.
RESTAURANT - BOOTH - NIGHT
Duncan
slides in beside Candy. Martin sits across the table.
MARTIN
Where's Rachael?
DUNCAN
I didn't want her to be here. The
less she knows, the better.
MARTIN
A little late for that.
CANDY
You settled in?
DUNCAN
He seems to like me. I don't know
why.
MARTIN
Then you've seen him?
DUNCAN
I start work Monday.
MARTIN
In what capacity?
DUNCAN
I'm not sure. I got the impression
it
would be a glorified go-fer.
CANDY
Go-fer is good.
65.
MARTIN
You hungry?
DUNCAN
Not especially.
MARTIN
Good. We have a room upstairs.
INT.
MARRIOTT HOTEL - ROOM - NIGHT
Duncan
in a high-tech vest crossed with wires.
MARTIN
How's it fit?
DUNCAN
Awkward.
CANDY
You'll get used to it.
MARTIN
The battery is good for about
twelve
hours. You can change it yourself.
He
hands Duncan a box of small batteries.
DUNCAN
Can you get a shock from this
thing?
CANDY
Not unless you take it in the
shower.
MARTIN
Come over here.
Duncan
joins Martin at the phone.
MARTIN
Use this splinter ...
He
unplugs the phone, plugs it into a splinter, one wire of
which
plugs into the vest, the other back into the phone.
MARTIN
When the phone's hooked up, hold
this
down for five seconds ...
Martin
presses a button on the vest.
66.
MARTIN
Hear the beep? It means the digital
audio is being sent.
DUNCAN
Incredible.
EXT.
MARRIOTT HOTEL - NIGHT
Candy
seeing Duncan off.
CANDY
You still okay with this?
DUNCAN
Not much choice, really.
CANDY
Sure there is. Just disappear.
DUNCAN
You wouldn't come after me?
CANDY
Between you, me and the fence post,
you'd be low priority. If you kept
your nose clean, maybe left the
country, I think you'd be home
free.
But I wouldn't spend any more of
Matson's money.
DUNCAN
Why are you telling me this?
CANDY
I believe in freedom of choice.
Don't
do this unless you really believe
in
it.
DUNCAN
Now you tell me.
CANDY
Once you start on this, you're in
for
the duration. Think about it.
INT.
HOTEL - HALLWAY - NIGHT
Duncan
taps on Rachael's door.
RACHAEL (O.S.)
Who is it?
67.
DUNCAN
It's me.
She
opens the door. She's in her robe.
DUNCAN
I was going to invite you out.
RACHAEL
It won't take a minute to change.
INT.
COCKTAIL LOUNGE - NIGHT
Duncan
and Rachael dancing on a crowded dance floor. Up
tempo.
They're enjoying themselves.
INT.
COCKTAIL LOUNGE - TABLE - NIGHT
Taking
a breather.
RACHAEL
I can't remember the last time I
did
this.
Duncan
looks serious.
RACHAEL
What's the matter?
DUNCAN
I start Monday. I'm not sure I
should
go through with it.
RACHAEL
Do you have a choice?
DUNCAN
Maybe I do. More than I thought.
RACHAEL
It would be dangerous to leave.
They'd come after you.
DUNCAN
I could go to a plastic surgeon,
change my looks. Get a Robert
Mitchum
chin.
RACHAEL
Do you realize how much something
like that costs?
68.
DUNCAN
You have a point.
RACHAEL
Let's not ruin a fun evening.
INT.
COCKTAIL LOUNGE - NIGHT
Duncan
and Rachel dancing close, a slow tune. Each lost in
thought.
INT.
HOTEL - HALLWAY - NIGHT
Duncan
and Rachael coming to their doors. Holding hands,
still
close.
They
embrace and kiss.
RACHAEL
Your room or mine?
DUNCAN
I thought you'd never ask.
They
bump into one another, each starting toward the other's
room.
They
laugh and embrace again.
INT.
HOTEL - DUNCAN'S ROOM - DAY
Morning.
Rachael asleep beside him.
The
phone rings. Duncan gets it in a hurry.
DUNCAN
Hello?...Oh, well, sure, I guess
so....Give me an hour.
INT.
HOTEL - DUNCAN'S ROOM - DAY (LATER)
Duncan
comes out of the bathroom, dressing to go out.
Rachael
sits up in bed.
DUNCAN
Tony wants to see me.
He
starts to put on the "bug" vest but changes his mind,
leaves
it there.
69.
RACHAEL
I thought you didn't start till
Monday.
DUNCAN
I'm not as far as the Feds are
concerned.
INT.
TONY'S CONDO - DECK - DAY
Duncan
with Tony on the deck. They are alone.
TONY
I've been looking over your resume.
DUNCAN
I never gave you a resume.
TONY
Didn't say you did, did I? I need
your resume, there are ways.
Anyway,
I'm impressed with your computer
skills. This is something to take
advantage of. You used to be a
programmer. You still can do that?
DUNCAN
I'm a little rusty. Depends what
you
want.
TONY
It should be very simple for a
brain
like yourself.
He
stands up.
TONY
I want to show you something.
EXT.
CITY PARK #1 - BASEBALL DIAMOND - DAY
Tony's
Mercedes cruises by a Little League diamond in a park.
INT.
MERCEDES - DAY
Tony
drives, Duncan riding shotgun.
TONY
We built that. Came in under budget
and two weeks early.
70.
EXT.
CITY PARK #2 - BASEBALL DIAMOND - DAY
The
Mercedes cruises by another park.
INT.
MERCEDES - DAY
TONY
Under budget, right on schedule.
EXT.
CITY PARK #3 - CONSTRUCTION SITE - DAY
And
again, the car cruises by.
INT.
MERCEDES - DAY
Tony
stops the car a moment.
TONY
This is the problem. We hit a water
main, slowed us up, put us a tad
over
budget. Your namesake, Matson, went
bonkers. His ass was in trouble over
it, he passed it on to us.
DUNCAN
Matson worked for the city?
TONY
Head of Parks and Rec.
DUNCAN
How'd he get his money? Not on a
city
salary.
TONY
Some from us for cooperating, some
from the Feds to keep him happy.
Then
he got greedy and threatened us.
Forgot who he was dealing with. Big
mistake.
DUNCAN
So you killed him?
TONY
Hey, watch your tongue. Tony
DiMarco
never killed a man in his life.
DUNCAN
Then who killed him?
71.
TONY
It was ordered from above. I have
no
control over this. For the record,
I
argued against it. I figured only
trouble could come from it -- but
not
this kind. Never figured the ghost
of
Matson would appear. Like I said
before, you got some balls.
DUNCAN
My tragic flaw.
EXT.
OFFICE BUILDING - DAY
The
Mercedes pulls into an underground garage under an
office
building.
INT.
OFFICE BUILDING - CONSTRUCTION WORKERS LOCAL - DAY
Duncan
and Tony step off an elevator into a business area. A
front
desk, cubicles, offices.
TONY
This way.
They
pass a secretary, ROSEY.
ROSEY
Good afternoon, Mr. DiMarco.
TONY
Hey, Rosey, how ya doin'?
He
leads the way into the office.
INT.
OFFICE - DAY
Tony
sits behind a huge desk. He motions for Duncan to sit.
TONY
I got a proposition for you. You
said
you write programs.
DUNCAN
A little rusty, but yes.
TONY
I know nothing about it but this
job
I have it mind should be easy for a
brain like you.
(MORE)
72.
TONY (CONT'D)
You know, when we file our tax
return, all the cents drop out, we
just report dollars. So what
happens
to the cents, I ask myself? And if
this is what we do, why wait to the
last minute? So I figure this way:
when dues come in, accounts
receivable, whatever it is, and we
make the deposits, we drop the
pennies right then and there, make
it
all simpler for us later. So what
happens to the pennies? They go
into
a separate account. What do you
call
it? A ghost account. A shadow
account.
DUNCAN
A secret account.
TONY
Secret, of course. This is all done
in the computer, right? The program
does it. All automatic. I figure
that's a lot of pennies piling up
in
there, it would grow at an
considerable rate. So my question
is,
is this kind of program in the
realm
of possibility?
DUNCAN
It's elementary. You don't need
someone like me to do it. A college
student could write it.
TONY
I don't want to work with a
stranger
on this.
DUNCAN
I'm a stranger.
TONY
No. You're someone who broke the
law.
You have reason to keep a secret
because if you squeal on me, I
squeal
on you. Makes the best kind of
partners.
Duncan
turns pale. He sees no way out.
TONY
Cheer up. You need a computer,
right?
So I'm giving you your own office.
73.
INT.
HOTEL - DUNCAN'S ROOM - DAY
Duncan
is packing Rachael's suitcase.
She
enters, carrying a package from the store.
RACHAEL
What are you doing?
DUNCAN
You're going back.
RACHAEL
Why?
DUNCAN
I've got an idea. But I need to do it
alone.
RACHAEL
No, I'm staying.
DUNCAN
I'm not giving you a choice.
EXT.
CAR RENTAL AGENCY - DAY
Rachael
waits outside, next to a new model car.
INT.
CAR RENTAL AGENCY - DAY
Duncan
at the desk. A CLERK hands him the keys.
CLERK
Have a safe trip.
DUNCAN
Thank you.
EXT.
CAR RENTAL AGENCY - DAY
Duncan
opens the passenger door for Rachael. She gets in.
He
gets behind the wheel and pulls out.
EXT.
STREET - DAY
Duncan
pulls to the curb.
74.
INT.
RENTAL CAR - DAY
Duncan
turns to Rachael.
DUNCAN
All yours.
RACHAEL
I'm leaving under protest.
DUNCAN
It's the only way. What you don't
know can't hurt you.
RACHAEL
It sounds so dangerous.
DUNCAN
Not if I'm alone. Trust me. I'm be
in
touch before you know it.
He
leans forward, and they kiss.
EXT.
STREET - DAY
Duncan
watches Rachael pull away.
INT.
OFFICE BUILDING - CONSTRUCTION WORKERS LOCAL - DAY
Duncan
enters the union area. Rosey comes forward to greet
him.
ROSEY
Hello, Mr. DiMarco said you might
be
stopping by. I'm Rosey.
DUNCAN
Rosey.
He
hesitates. Who is he?
ROSEY
Mr. DiMarco forgot to tell me your
name.
DUNCAN
You can call me Duncan.
ROSEY
I can't do that, sir. Mr...?
75.
DUNCAN
Mr. Simpson.
ROSEY
Follow me, I'll show you your
office.
INT.
CONSTRUCTION WORKERS LOCAL - DUNCAN'S OFFICE - DAY
Rosey
leads him into a spacious office. A large window
offers
a view.
DUNCAN
Wow.
ROSEY
I'm glad you like it. If you need
anything, just buzz me. I work for
you now.
DUNCAN
Maybe coffee, black?
ROSEY
Coming right up.
The
secretary leaves.
Duncan
cases the office, amazed at its size and touches,
like
a couch, a work table, a small refrigerator, a stocked
bar.
A
top notch computer is on the end of the desk. Duncan sits
in
front of it.
INT.
DUNCAN'S OFFICE - DAY - LATER
Duncan
in front of the computer.
A
knock on the closed door, which swings open. It's Rosey.
ROSEY
I'm leaving now. Should I put on a
fresh pot of coffee for you?
DUNCAN
No thanks. You've been great,
Rosey.
ROSEY
Thank you, Mr. Simpson! Will I see
you tomorrow? Mr. DiMarco said your
hours may be irregular.
76.
DUNCAN
Late in the morning, I think.
ROSEY
Don't stay too late then.
She
smiles and leaves.
Duncan
goes back to work on the computer.
ON
COMPUTER SCREEN
Two
window are open.
One
is the website of the Bank of America.
The
other is a document window where Duncan is collecting
logos
and other features from the bank site.
He
drags another logo from the bank to the document he's
building.
He's making his own bank website.
EXT.
OFFICE BUILDING - NIGHT
Duncan
comes out. He is surprised to hear a horn beep at him.
Bobby
opens the door of a car at the curb.
BOBBY
Hey! Tony said for us to wait for
you
and give you a ride.
Duncan
goes to the car. Bobby opens the back door. Zafiro is
behind
the wheel.
DUNCAN
I actually prefer to walk.
BOBBY
The thing is, Tony wants us to
bring
you by.
DUNCAN
Why didn't you say so?
He
gets in.
INT.
TONY'S CONDO - NIGHT
Tony
sits behind the huge desk.
77.
TONY
Working late tonight, they tell me.
I
like a man dedicated to his work.
So
you must be making progress.
DUNCAN
As a matter of fact, as soon as you
give me a bank account number for
where I send the loose change, I
think we can start.
TONY
Already? You are some whiz kid.
DUNCAN
I need a few more hours but the
hard
part is over. Can I get a bank
number?
TONY
I'll have Rosey give it to you in
the
morning.
DUNCAN
I won't be in till afternoon.
Tony
grins.
TONY
I like a man who keeps his own
hours.
EXT.
MARRIOTT HOTEL - DAY
Duncan
approaches the hotel. He carries a bundle under his
arm.
INT.
MARRIOTT HOTEL - RESTAURANT - DAY
Duncan
slides into a booth across from Martin and Candy.
He
drops the bundle in front of them. It's the wired vest,
rolled
up.
MARTIN
You're making a mistake here.
DUNCAN
No, we're doing it a different way.
I
want you to open up a bank account
and give me the routing
information.
MARTIN
And then ... ?
78.
DUNCAN
And then you're going to get all
the
evidence you need.
INT.
CONSTRUCTION WORKERS LOCAL - DUNCAN'S OFFICE - DAY
Duncan
at the computer.
INT.
HOTEL - NIGHT
Duncan
passes the front desk.
CLERK
Mr. Adams! A message for you ...
Duncan
goes to the desk. The clerk hands him a folded message.
INT.
HOTEL - ELEVATOR - NIGHT
Duncan
waits for the elevator. He opens the message.
Short
and sweet: "Call Rachael."
INT.
HOTEL - DUNCAN'S ROOM - NIGHT
Duncan
picks up the phone. Thinks. Sets it down without
calling.
INT.
CONSTRUCTION WORKERS LOCAL - DUNCAN'S OFFICE - DAY
Duncan
at the computer.
SUPER:
"A MONTH LATER"
Tony
comes into the office, closing the door behind him.
TONY
There's the man.
DUNCAN
What brings you into the salt
mines?
TONY
Hey, I'm a working man.
He
moves close, speaking quietly even though the door is
closed.
79.
TONY
I was wondering what the balance
is.
I'd like to make a cash withdrawal.
DUNCAN
Let me get the balance ...
He
starts punching keys.
TONY
You a happy camper?
DUNCAN
That's a loaded question.
TONY
You're probably bored. Am I right?
Duncan
keeps working at the computer.
TONY
How's a new challenge sound? I
don't
think this one even made you sweat.
DUNCAN
Here it is ...
Tony
moves to look over his shoulder. The account is over
$50,000.
TONY
Ain't it amazing how fast small
change accumulates? So what's the
best way for me to withdraw ten
grand?
DUNCAN
The easiest would be an electronic
transfer.
TONY
You can do that?
DUNCAN
All I need is a bank routing number
where to put it.
TONY
You're something else. A blank
check
has that, right?
He
takes out his check book and tears out a check.
DUNCAN
Better write void on that.
80.
Tony
laughs.
TONY
What a man.
He
write void on the check and hands it to Duncan. Then he
moves
away.
TONY
You have yourself a good weekend.
Maybe we can have dinner next week.
DUNCAN
I'll have to check my social
calendar.
Tony
shakes his head, grinning, and is gone.
Duncan
lets out a deep breath. He looks very worried.
He
goes back on the computer. He opens a different bank
account.
ON
THE SCREEN
It
is his own personal account for Duncan Adams. The balance
is
thirty-odd thousand dollars.
He
transfers ten grand from his personal account, routing it
into
Tony's account.
Then
he opens yet another bank account. This one belongs to
Jake
Matson. The balance is over one hundred thousand dollars.
He
transfers all but one hundred dollars out of Matson's
account
into his own personal account.
INT.
CONSTRUCTION WORKERS LOCAL - DAY
Duncan
comes out of his office. He passes Rosey's desk.
DUNCAN
I'm gone for the day.
ROSEY
Have a nice weekend.
INT.
HOTEL - DUNCAN'S ROOM - DAY
Duncan
on the phone.
DUNCAN
Rachael, please ...
81.
INT.
MOM'S CAFE - DAY
Rachael
picks up the phone.
INTERCUT
RACHAEL
Hello?
DUNCAN
It's Duncan.
A
silence.
DUNCAN
I didn't return your calls because
I
was afraid my phone was tapped. I
didn't want them to know where you
are.
RACHAEL
But you're calling now.
DUNCAN
It doesn't matter any more. How
soon
can you pack?
RACHAEL
What are you talking about?
DUNCAN
I don't have a lot of time here.
I'll
see you tomorrow. We'll talk then.
The thing is, I can't hang around
there. I need to go somewhere and
disappear. Become a stranger and
start over. I'm asking you to come
with me.
There's
another silence.
DUNCAN
We'll talk tomorrow.
INT.
HOTEL - DUNCAN'S ROOM - DAY
Duncan
is packing. There's a knock on the door.
He
hesitates. Another knock.
DUNCAN
Just a minute!
He
picks up the suitcase and shoves it under the bed.
82.
He
goes to the door. It's Tony, accompanied by a stunning
blonde,
nice looking but overly made up, over- dressed, a
starlet
wannabe.
TONY
There's the man! Honey, this is the
computer genius I was telling you
about. This is Honey. That's her
name.
DUNCAN
Honey ...
HONEY
Tony just goes on and on about how
smart you are.
TONY
Honey said she'd never met a genius
before. So I wanted to show her.
Don't invite us in, we're on our
way
to the airport. Honey's never been
to
Hawaii.
HONEY
Just seen it in movies.
TONY
We'll have dinner next week, what
do
you say?
DUNCAN
That sounds good.
HONEY
Bon voyage!
Honey
starts away. Tony leans close to Duncan.
TONY
Isn't she something? She's got
friends, you know. You just say the
word.
He
rushes to catch up with Honey.
Duncan
closes the door.
EXT.
HOTEL - DAY
Duncan
comes out with his suitcase. He hails a cab.
83.
EXT.
HOTEL - STREET - DAY
Across
the way, Zafiro and Bobby sit in a car.
BOBBY
Why's he getting a cab? Why doesn't
he use the jeep?
ZAFIRO
Maybe to ditch us.
Zafiro
starts the car. It pulls out to follow the cab.
EXT.
CAR RENTAL AGENCY - DAY
The
cab stops at a car rental agency.
Duncan
gets out and goes inside.
INT.
CAR - DAY
Zafiro
and Bobby.
BOBBY
Where do you suppose he's going?
ZAFIRO
I guess we'll find out.
EXT.
CAR RENTAL AGENCY - DAY
A
new rental car pulls up outside the door. The DRIVER gets
out.
Duncan
comes out with rental papers. Moving to the car, he
sees
Zafiro and Bobby across the street. He stops, looking
at
them.
INT.
CAR - DAY
Zafiro
behind the wheel.
BOBBY
I think he sees us.
ZAFIRO
You're a genius.
84.
EXT.
CAR RENTAL AGENCY - DAY
Duncan
thinking, what to do?
He
gets in the car. He pulls into traffic.
Zafiro
pulls behind him.
INT.
RENTAL CAR - DAY
Duncan
sees his tail in the real view mirror. Still thinking
about
what to do about it.
A
look of determination as he makes up his mind.
He
steps on the gas.
EXT.
STREET - DAY
Duncan's
rental car darts ahead, weaving in traffic.
INT.
CAR - DAY
Zafiro
steps on it in pursuit.
ZAFIRO
Here we go.
A
SERIES OF SHOTS - THE CAR CHASE
--Duncan
weaving in and out of traffic.
--Zafiro
behind him, catching up.
--Duncan
onto the freeway.
--Zafiro
following.
--Passing
a cop, who joins the race behind Zafiro.
--Duncan
getting off the freeway.
--The
cop pulling over Zafiro.
--Another
cop zooming by to follow Duncan off the freeway.
EXT.
STREET - DAY
Duncan
pulls into a mall parking lot.
85.
He
gets out and races into the mall.
The
police car skids to a stop at the rental car.
A
POLICEMAN gets out. Duncan nowhere in sight.
INT.
MALL - DAY
Duncan
moving through the crowd in the mall. No sign of
police
following him.
INT.
MALL - RESTAURANT - DAY
Duncan
enters a restaurant, finds the bar.
INT.
MALL - RESTAURANT - BAR - DAY
He
takes a stool. Out of breath, gathering himself back
together.
BARTENDER
What'll it be?
DUNCAN
A beer. Whatever's on draft.
INT.
MALL - RESTAURANT - TABLE - DAY
Duncan
has moved to a table.
Two
POLICEMEN enter, looking around.
Duncan
waits till they are turned away. Then he races to the
exit.
The
police turn and see him running. They head out after him.
A
SERIES OF SHOTS - CHASE THROUGH THE MALL
--Duncan
weaving through customers.
--The
police behind him.
--Up
an escalator the wrong way.
--Into
a store.
--Back
into the mall, the police still behind him.
86.
--Into
another store.
INT.
WOMEN'S CLOTHING STORE - DAY
Duncan
in the store, races to rear. Enters a dressing room.
INT.
WOMEN'S CLOTHING STORE - DRESSING ROOM - DAY
A
MIDDLE-AGED WOMAN is trying something on.
Duncan
stares her down with:
DUNCAN
"I do not know what it is about you
that closes and opens / only
something
in me understands the voice of your
eyes is deeper than all roses /
nobody, not even the rain, has such
small hands"
The
women's eyes are huge. Suddenly she embraces him,
planting
a hard kiss on his lips.
INT.
WOMEN'S CLOTHING STORE - DAY
The
police look through the store.
They
pass the dressing rooms. A WOMAN comes out of one,
looks
surprises to see police there.
A
policeman tips his hat, and the officers move off.
INT.
WOMEN'S CLOTHING STORE - DRESSING ROOM - DAY
Duncan
sits with the woman. Her head is on his shoulder. Her
eyes
are shut.
INT.
WOMEN'S CLOTHING STORE - DAY
The
police leave the store.
INT.
WOMEN'S CLOTHING STORE - DRESSING ROOM - DAY
Duncan
comes out of the dressing room. The woman is behind
him.
DUNCAN
Thanks so much.
87.
The
woman, still in a daze, can only nod.
Duncan
moves away.
INT.
MALL - MOVIE THEATER - DAY
Duncan
buys a ticket and enters to watch a movie.
EXT.
MALL - NIGHT
Duncan
comes out into the parking lot.
The
rental car is gone. No sign of police anywhere.
He
starts hoofing it.
EXT.
MOTEL - NIGHT
Duncan
enters the office.
INT.
MOTEL - ROOM - NIGHT
Duncan
on the phone.
DUNCAN
Rachael, it's me. I'm not there yet
obviously. Listen, um, this has
become more complicated than I
expected. I have to do something
but
it's going to take time. I'm
talking
months. It's not fair to ask you to
wait for me ... hell, I've made a
real mess of this ... I'll never
forget you, Rachael. If you're
still
there a few months down the road,
well, I may surprise you. I'll
never
forget you.
He
stops, in emotional pain.
DUNCAN
There is something I've been
meaning
to tell you before now. Better late
than never, I hope. ... I love you.
He
hangs up.
88.
EXT.
BUS STATION - DAY
Duncan
boards a bus headed for New York.
EXT.
AIRPORT - DAY
A
jetliner lands.
SUPER:
"TWO WEEKS LATER"
INT.
AIRPORT - TERMINAL - DAY
Tony
and Honey enter the terminal. Looking like the tourists
just
back from Hawaii that they are.
Suddenly
Martin and Candy appear.
MARTIN
Tony DiMarco?
Tony
looks quickly around, as if for an escape route. Police
surround
him.
MARTIN
F.B.I. You're under arrest.
CANDY
"You have the right..."
etc.
EXT.
NEW YORK CITY - DAY
Duncan
on the street, looking for an address.
He
finds it and enters a building.
INT.
NEW YORK CITY - OFFICE BUILDING - DAY
An
elevator door opens and Duncan steps out.
He
moves down the hallway.
He
comes to a door that reads: "Samuel Ellington. Plastic
Surgeon."
INT.
ELLINGTON OFFICE - DAY
SAMUEL
ELLINGTON sits behind a desk. He wears the usual
medical
white coat.
89.
Duncan
sits across the desk.
ELLINGTON
An operation like this is very
expensive.
DUNCAN
How expensive.
ELLINGTON
Upwards to eighty thousand dollars.
DUNCAN
I can handle it.
EXT.
UPSTATE NEW YORK - MOTEL - DAY
A
motel in a small town.
INT.
MOTEL - ROOM - DAY
Duncan,
his face in bandages, on the phone.
DUNCAN
Birth certificate, social security
card, driver's license. ... No,
let's
make it California. ... Charles
Adams
Mitchum ... u-m, like the actor ...
Kitty, if you can get this to me
before the end of the month,
there's
an extra grand in it for you. ...
Let's just say I won the lottery.
...
Thanks much, hon.
He
hangs up.
He
walks to a mirror and stares at himself. Trying to
imagine
what he will look like.
EXT.
SMALL TOWN - DAY
Rachael
walking down the sidewalk.
SUPER:
"SIX MONTHS LATER"
She
enters Mom's Cafe.
A
"Help Wanted" sign is in the window.
90.
INT.
MOM'S CAFE - DAY
At
the counter, Rachael puts on her working apron.
She
grabs the coffee pot and makes the rounds.
INT.
MOM'S CAFE - BOOTH - DAY
Sitting
in a booth is a transformed Duncan.
At
first, it is hard to recognize him -- his new face is
dominated
by a "Robert Mitchum chin." His hair is darker.
He's
lost a little weight.
But
the eyes are the same. The eyes belong to Duncan.
RACHAEL
More coffee.
DUNCAN
"As long as you and I have
arms and
lips which are for kissing and to
sing with, who cares if some
one-eyed
sonofabitch invents an instrument
to
measure spring with."
Rachael's
mouth drops open.
DUNCAN
Hello, Rachael.
She's
visibly in shock.
RACHAEL
Have we met?
DUNCAN
I said I'd be back.
She
looks almost frightened for a moment. Studies him.
DUNCAN
I hope I look okay.
Now
she recognizes the eyes and understands.
She
looks like she may faint. She has to sit down in the
booth
across from him.
91.
DUNCAN
The thing is, you were right, this
was damn expensive. It took every
penny I had. I'm broke. But I see
Hannah is looking for help.
RACHAEL
Maybe you should ask for the job.
DUNCAN
Maybe I should.
Their
hands join across the table.
RACHAEL
It's really you.
DUNCAN
With a Mitchum chin.
RACHAEL
You didn't have to do that.
DUNCAN
Oh, yes, I did. New face, new name,
new life. I had the wrong life
before.
RACHAEL
What's your new name?
DUNCAN
Charles Adams Mitchum.
RACHAEL
Mitchum.
DUNCAN
How's Rachael Mitchum sound?
Tears
well in Rachael's eyes.
RACHAEL
It sounds fine.
DUNCAN
I can't offer you much on a cook's
salary.
RACHAEL
We'd stay here?
DUNCAN
Looks like a great place to grow
old.
92.
RACHAEL
Oh, Duncan ... I'm sorry ...
DUNCAN
Charley is good.
RACHAEL
Charley.
DUNCAN
Or Mitch. We'll work it out.
RACHAEL
Yes, we'll work it out.
Hannah
appears at the table.
HANNAH
Rachael, you all right?
DUNCAN
I'd like to apply for the job in
the
window.
HANNAH
You ever work a short order grill
before?
DUNCAN
I worked for you, Hannah.
Hannah
studies him. Her eyes dart to Rachael.
RACHAEL
This is Charley Mitchum. We're
getting married.
HANNAH
Duncan ...
Duncan
puts one finger to his lips.
DUNCAN
Charley Mitchum. Or Mitch if you
like.
HANNAH
Charley is good ...
Looking
confused, she moves away.
At
the table, Duncan and Rachael move close over the table
and
kiss.
93.
Suddenly
CUSTOMERS, who have been watching, break into
spontaneous
applause.
Duncan
and Rachael meet the applause with happy grins.
FADE
OUT