"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