“DON’T SHOOT! I’M WHITE!”

By Charles Deemer

 

FADE IN:

 

EXT. BEAUTILINE INC. - CAMPUS - NIGHT

 

The campus-like setting of a modern corporation. Behind a large, "glassy" central building, smaller buildings are connected by paths through lawns and flower beds. Modern lamps light the way.

 

EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT

 

Waiting in front of the Research and Development Building is ANDY BUNNING, late 20s. He shuffles from foot to foot. Impatient.

 

Across the way a GUARD exits a building. He heads toward R&D.

 

Andy mouths "Oh shit" and enters the building.

 

INT. BEAUTILINE INC. - OFFICE - NIGHT

 

A copy machine is at work in a dark office. Operating it is RAY BUNNING, 40ish.

 

He takes documents from a folder, copying them one at a time. As fast as he can.

 

Andy appears in the doorway.

 

ANDY: Guard's coming!

 

Ray replies without looking up.

 

RAY: Almost done.

 

ANDY: There's no time.

 

RAY: I'll meet you at the back door.

 

ANDY: Ray ...

 

No use. Andy leaves.

 

EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT

 

The guard is closer. He's whistling, relaxed. Just another night. Nothing ever happens.

 

INT. BEAUTILINE INC. - OFFICE - NIGHT

 

Ray is still copying.

 

INT. BEAUTILINE INC. - BACK DOOR - NIGHT

 

Andy waits, more impatient than ever. He shouts into the dark hallway in a strained whisper.

 

ANDY: Goddamn it, Ray!

 

EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT

 

The guard puts a key in the front door.

 

INT. BEAUTILINE INC. - BACK DOOR - NIGHT

 

Ray joins Andy. He carries a briefcase.

 

RAY: All done.

 

They head out the back door.

 

EXT. BEAUTILINE INC. - R&D BUILDING - BACK AREA - NIGHT

 

The brothers move quickly away.

 

ANDY: I don't think this is a good idea.

 

RAY: Too late now.

 

EXT. ANDY'S APARTMENT - NIGHT

 

Ray's car pulls to the curb in front of an apartment building.

 

INT. RAY'S CAR - NIGHT

 

Ray pats the briefcase on the seat between them.

 

RAY: Thanks, little brother.

 

ANDY: I'm having second thoughts about this.

 

RAY: There's no way they'll connect you to this.

 

ANDY: You're committing professional suicide.

 

RAY: I never should've left teaching. When the dust settles, I'm going back. Believe me, this is going to be my perfect swan song.

 

ANDY: I wish I'd kept my mouth shut.

 

RAY: Andy, we can't let them put something like that on the market. You should feel good about what I'm doing.

 

ANDY: Maybe I should -- but I don't.

 

He gets out of the car.

 

RAY: (after him) Sleep on it. You'll feel better in the morning.

 

He puts the car in gear and pulls away.

 

EXT. ANDY'S APARTMENT - NIGHT

 

Andy watches him leave. Suddenly his mood changes -- he smiles.

 

EXT. BEAUTILINE INC. - DAY

 

Establishing.

 

INT. BEAUTILINE INC. - MAIN BUILDING - OFFICE - DAY

 

HOWARD JENNINGS, 50s, sits behind a huge desk. He is reading a sheet of paper. In his other hand, he holds a business card.

 

Across the desk sits Andy.

 

HOWARD: I commend you for bringing this to my attention.

 

ANDY: It's the right thing to do, sir.

 

HOWARD: And his business card was positioned ... ?

 

ANDY: To copy onto the bottom of the document. Like a reference or signature or something.

 

HOWARD: Have you contacted your brother?

 

ANDY: I came here as soon as I found the page in the machine this morning. I haven't talked to anyone.

 

HOWARD: You realize you're putting your brother in serious trouble here.

 

ANDY: Half-brother, sir. We've never been very close.

 

HOWARD: I see. Well, I'll certainly take care of it. May I call you Andy?

 

ANDY: Of course.

 

HOWARD: They tell me, Andy, that you're one of the brightest chemists on the entire TGM Team. The suntan pill was your idea?

 

ANDY: Yes, sir.

 

HOWARD: I'm glad to learn you have company loyalty as well. I'll make sure your supervisor hears about this.

 

ANDY: Thank you, sir.

 

Andy looks smug, as if hiding something.

 

SUPER ON SCREEN

 

"One week later"

 

EXT. BUNNING HOME - DAY

 

A taxi pulls in front of a home in an upper-middle-class neighborhood.

 

INT. TAXI - DAY

 

The CABBY looks at his watch.

 

He picks up the newspaper on the seat beside him and begins to read.

 

INT. BUNNING HOME - RAY'S BEDROOM - DAY

 

Ray's briefcase is open on a single bed in a small bedroom. He's putting documents into a folder in the briefcase.

 

He closes the briefcase.

 

INT. BUNNING HOME - BATHROOM - DAY

 

Ray stands at the mirror. He is dressed for work in white shirt and tie. He combs his hair.

 

INT. BUNNING HOME - MASTER BEDROOM - DAY

 

At a mirror in the master bedroom is JANET, 30s. She's in a robe but her face is ready for the day.

 

She glances out a window and sees the cab parked below.

 

INT. BUNNING HOME - BATHROOM - DAY

 

Ray is still at the mirror. His wife calls from nearby.

 

JANET (O.S.): Your taxi is here!

 

Ray cleans the comb, dropping loose hair into the full trash can beside the sink.

 

Janet enters as Ray is leaving.

 

JANET: When will you be back?

 

RAY: Sunday afternoon.

 

JANET: We have Sunday dinner with the Jeffersons.

 

RAY: (happily) Maybe my plane will be late.

 

Ray walks out of the bathroom.

 

JANET: (after him, coldly) Then I'll go without you!

 

She goes to the mirror. Something isn't right about her hair.

 

She takes off an expensive hair clip, and the clasp breaks in her hand. She drops everything into the trash, where it falls on top of Ray's loose hair.

 

Then she picks up the small trash can and sets it in the hallway outside the bathroom.

 

JANET: Eunice, bathroom trash!

 

INT. BUNNING HOME - KITCHEN - DAY

 

EUNICE, 30s, the black maid, is pouring coffee as Ray enters the kitchen. He's carrying his briefcase.

 

EUNICE: Morning, Mr. Bunning. Here's your coffee.

 

RAY: Has Andy called?

 

EUNICE: No, sir, he hasn't.

 

She starts away.

 

RAY: Pour a cup for yourself, Eunice. The bathroom trash can wait.

 

EUNICE: Not if I want peace and quiet, it can't.

 

She leaves.

 

Ray goes to the phone and dials a number. He frowns, getting a message.

 

RAY: Andy, where the hell are you? I thought I was picking you up early. If you didn't want to see Dad, why didn't you say so? Listen, I'm on my way. I assume I'll see you at the airport.

 

He hangs up.

 

EXT. BUNNING HOME - DAY

 

A limousine pulls up behind the taxi. A CHAUFFEUR gets out and heads for the front door.

 

INT. TAXI - DAY

 

The cabby has noticed this. He puts down the paper and watches with interest.

 

EXT. BUNNING HOME - DAY

 

Ray comes out as the chauffeur reaches the porch. He carries a suitcase and his briefcase.

 

CHAUFFEUR: Mr. Bunning? The company sent me to take you to the airport.

 

RAY: No one told me about this. I have a cab.

 

CHAUFFEUR: This way, sir.

 

RAY: I want to swing by Memorial Cemetery first.

 

CHAUFFEUR: That's fine.

 

RAY: Just a minute.

 

Ray walks to the cab, and the cabby gets out to meet him.

 

RAY: Sorry about that. Here's something for your trouble.

 

He gives the cabby a bill.

 

EXT. MEMORIAL CEMETERY - DAY

 

The limo is parked in a cemetery. The chauffeur leans on a fender, smoking.

 

Ray kneels at a gravestone that reads HEATHER LOUISE BUNNING, who died five years ago. His first wife. He stands and moves to two adjacent markers, the graves of his parents, ARTHUR BUNNING and FLORENCE LEAR BUNNING.

 

RAY: Happy birthday, Dad.

 

EXT. AIRPORT TERMINAL - DAY

 

The limo stops in front of an airport terminal, and Ray gets out.

 

INT. AIRPORT TERMINAL - LOADING GATE - DAY

 

Ray is at a pay phone, waiting impatiently for Andy to answer. A message again. He slams down the receiver. He joins a line of people checking in for the flight. He looks around nervously. Where is Andy?

 

The next person is checking in. Then it's Ray's turn.

 

EXT. BUNNING HOME - BACK AREA - DAY

 

Eunice is emptying the bathroom trash into a garbage can. She sees Eunice's hair clip and picks it out. Some of Ray's hair comes with it, unnoticed by Eunice. She looks through the garbage, seeing what else she can find.

 

INT. BUNNING HOME - KITCHEN - DAY

 

From the kitchen window, Janet sees Eunice going through the trash.

 

EXT. BUNNING HOME - BACK AREA - DAY

 

Eunice is admiring a broken necklace when Janet hurries out.

 

JANET: My God, what are you doing?

 

EUNICE: If you're throwing this away, I thought--

 

JANET: Put that back! I won't have you rooting through the trash for hand-me- downs like some homeless person. Get back inside this minute!

 

Eunice manages to slip the hair clip into a pocket of her apron before she drops the necklace and heads for the back door.

 

INT. JETLINER - DAY

 

Ray uses the phone on the back of the seat in front of him, punching out a number.

 

He waits. And waits.

 

The PASSENGER beside him looks at him. Ray hangs up. He smiles.

 

RAY: No answer.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice puts on her coat, getting ready to leave. Janet enters and hands her a note.

 

JANET: Could you stop at the store on the way in tomorrow and get a few things? I'm having my sister over for dinner.

 

EUNICE: Yes, ma'am.

 

JANET: And this is for you.

 

She hands Eunice a piece of cheap costume jewelry. Eunice hides her dislike of it.

 

EUNICE: Thank you, ma'am.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Around a kitchen table sit Eunice and RUBY, her mother. Ruby is gray and partially toothless, like a runaway from some gypsy camp.

 

Ruby is inspecting the costume jewelry. She speaks with a Haitian accent.

 

RUBY: It's cut glass.

 

EUNICE: Of course it's cut glass. That woman would never give me something worth anything. Not even something she's thrown in the trash. I got this, though.

 

Eunice puts the hair clip on the table. Ruby immediately admires it.

 

RUBY: It's beautiful.

 

EUNICE: The bitch threw it away just because the clasp broke. I wish she could spend just one week as a black woman on what she pays me.

 

RUBY: I can do that.

 

EUNICE: Mother, I don't have time to listen to any voodoo.

 

RUBY: I don't do voodoo.

 

EUNICE: Witchcraft, whatever. Why isn't dinner ready? Do I have to do everything around here?

 

EXT. AIRPORT - NIGHT

 

The jetliner lands.

 

INT. AIRPORT - TERMINAL - NIGHT

 

Ray comes into the terminal. Howard Jennings is waiting for him.

 

HOWARD: Good trip, Ray?

 

RAY: Mr. Jennings. What are you doing here?

 

HOWARD: They told me you'd need a ride to the hotel.

 

RAY: The taxi drivers are on strike?

 

HOWARD: Sorry to hear about your brother.

 

RAY: You know what happened to Andy? He didn't show up at the airport.

 

HOWARD: He's ill. He had to cancel.

 

RAY: What are you talking about? He was fine yesterday.

 

HOWARD: Called in sick, is all I know. Said he was calling from the hospital.

 

Ray is too shocked to reply.

 

INT. HOTEL - NIGHT

 

Ray signs in as Howard watches. He gets his key. Howard picks up Ray's suitcase and briefcase. Ray reaches for them but Howard resists.

 

RAY: I can manage that.

 

HOWARD: No problem.

 

RAY: I want to go up alone, Howard.

 

They stare at one another. Howard gives up the bags and grins.

 

HOWARD: See you in the bar later?

 

RAY: Sure.

 

Ray goes alone toward the elevator.

 

INT. HOTEL - RAY'S ROOM - NIGHT

 

Ray comes into the room and snaps on the light. He puts down the suitcase and heads directly for the phone. He punches a number.

 

Waits for an answer. Waits. He slams down the phone.

 

He sits on the bed and opens the briefcase. He takes out the folder of documents and opens it.

 

The same docs copied from R&D.

 

INT. EUNICE'S HOUSE - RUBY'S BEDROOM - NIGHT

 

Ruby's bedroom is a disaster area. Not only clothes but a bizarre assortment of sorcery tools clutter the room. A pot of some concoction is simmering on a hot plate. Ruby sits at a small table, studying a recipe from a book.

 

She picks up a magnifying glass and looks at the hair clip. And finds ... hair! In fact, this is hair from Ray, the hair that he dropped into the trash can when cleaning his comb.

 

Ruby takes a pair of tweezers and carefully takes the hair from the clip. She carries it to the hot plate --and drops the hair into the simmering mass of goo. She looks pleased with herself, just before going into something close to a trance, mumbling sounds that make no sense.

 

She waves her hands over the rising steam from the pot. A magical incantation.

 

INT. HOTEL - RAY'S ROOM - NIGHT

 

Ray has changed clothes into something casual. He puts down the phone after another failed try to reach Andy. There's a knock on the door.

 

Ray opens it to find SANDY, 20s, a beautiful young woman dressed to party. She carries a bucket of champagne and lets herself right in.

 

RAY: I'm sorry. I think you have the wrong room.

 

SANDY: I don't think so. I'm Sandy. I'm your reward.

 

RAY: Reward for what?

 

SANDY: How do I know? I thought you got a promotion or something. Would you open the champagne?

 

RAY: I don't want champagne.

 

SANDY: Are you Ray Bunning?

 

RAY: Yes.

 

SANDY: Then I'm in the right place.

 

RAY: Who sent you?

 

SANDY: Who do you think? The company.

 

RAY: Sandy, I appreciate the gesture, but I'd rather be alone, so you can take your champagne and find a party some place else.

 

SANDY: I can't do that. My instructions were very clear. I don't leave til morning.

 

RAY: That's impossible.

 

SANDY: You don't know what could happen to me if I get a bad review here. If you don't want to mess around, fine, that's one thing. But no way am I leaving this room until tomorrow morning. So you might as well open the champagne.

 

INT. EUNICE'S HOUSE - RUBY'S BEDROOM - NIGHT

 

The concoction on the hot plate has boiled over, making a mess.

 

Eunice is waving a towel, trying to dissipate an obviously unpleasant odor. Ruby watches on, helpless.

 

EUNICE: Are you trying to burn the house down?

 

RUBY: I was just trying to help.

 

EUNICE: You get crazier every day! I should put you on a boat back to Haiti, you miss voodoo so much! We're civilized around here, don't you understand that?

 

RUBY: I don't do voodoo.

 

EUNICE: Whatever it is! No more!

 

RUBY: You said you wanted her to be black for a week. I was doing that.

 

EUNICE: It was a figure of speech, mother. Honestly ... what am I going to do with you?

 

Ruby gives her a toothless grin.

 

INT. HOTEL - BAR - NIGHT

 

Ray comes into the bar. He finds Howard and takes him aside.

 

RAY: Somebody sent a woman to my room.

 

HOWARD: Really? What a concept!

 

RAY: I thought you might know something about it.

 

HOWARD: Ray, that's an area that Corporate Communications hasn't gotten into yet, but I'll look into it.

 

RAY: I can't get rid of her.

 

HOWARD: Why do you want to? Relax and let your hair down. This is supposed to be a celebration. We're about to make pharmaceutical history, remember? So what are you drinking?

 

Ray walks away without replying.

 

INT. HOTEL - LOBBY - NIGHT

 

Ray is at a pay phone in the lobby, dialing a number.

 

INT. BUNNING HOME - DEN - NIGHT

 

Janet is watching television when the phone rings. INTERCUT

 

JANET: Hello?

 

RAY: Hi, it's me. I need a favor. It's important.

 

JANET: I've had a very stressful day, as a matter of fact. How nice of you to ask.

 

RAY: Janet--

 

JANET: And how was your flight?

 

RAY: I can't get ahold of Andy. He's not answering the phone, and the word here is that he's in the hospital. He was fine yesterday.

 

JANET: If you're asking me to fill a prescription --

 

RAY: Try to find out what's going on. Where he is. Anything. I'll call you first thing in the morning.

 

There's a pause.

 

RAY: Janet?

 

JANET: Fine.

 

RAY: Thanks. Well, I'm in the middle of something. I'll call you tomorrow.

 

JANET: I made an appointment with a lawyer.

 

RAY: Good. We'll talk about it when I get back.

 

He hangs up.

 

INT. BUNNING HOME - DEN - NIGHT

 

Janet still holds the phone. She presses the button and gets a dial tone. She dials.

 

But no answer. She hangs up.

 

INT. HOTEL - RAY'S ROOM - NIGHT

 

Ray comes into the room.

 

Sandy is stretched out on the bed, half-naked, watching television.

 

SANDY: You weren't gone long.

 

RAY: Can't you put something on?

 

SANDY: Are you gay or something? Not that I mind. My best friend is a lesbian.

 

RAY: This is just ... bad timing.

 

SANDY: You're happily married.

 

RAY: I'm about to get divorced.

 

SANDY: Well then?

 

RAY: It's nothing personal. I've got a lot on my mind.

 

He moves to a divan in the room. He kicks off his shoes and stretches out.

 

SANDY: You're going to sleep over there?

 

RAY: I don't know.

 

SANDY: Just because you sleep in the bed doesn't mean we have to do anything.

 

He closes his eyes.

 

EXT. HOTEL - DAY

 

Howard and another MAN stand in front of the hotel, talking. This is JASPER CUNNINGHAM, BeautiLine's CEO. A limousine pulls up. Howard shakes hands with the man, then Cunningham gets into the limo.

 

INT. HOTEL - RAY'S ROOM - DAY

 

The bed is empty.

 

The bathroom door is open, and the sound of a SHOWER can be heard.

 

Ray is on the divan, still partially dressed, turned so we see only his back.

 

He stirs, rolls over -- and shockingly: RAY IS NOW BLACK.

 

He sits up, acting naturally since he hasn't seen himself yet. He stands up and stretches.

 

Sandy comes into the room, a towel wrapped around her, and sees Ray -- and immediately SCREAMS.

 

The towel drops, she turns and races back into the bathroom. The lock CLICKS as she locks the door.

 

RAY: Sandy?

 

There's no reply.

 

RAY: Sandy, what's wrong?

 

He turns and across the room catches a glance of himself in a dresser mirror. He freezes.

 

He moves slowly toward the mirror, hands going to his face, feeling himself, touching the change he sees in himself.

 

In front of the mirror he stares at his image with confusion and shock. He rubs his skin, hard, fiercely, but nothing changes. He is still very black. He steps back. He crosses the room to the bathroom door.

 

RAY: Sandy, what happened to me? Who was here last night? Answer me, goddamn it!

 

SANDY (O.S.): Ray?

 

RAY: Of course it's Ray! What happened to me?

 

SANDY (O.S.): You sound a little different.

 

RAY: Open the door.

 

SANDY (O.S.): I don't understand this.

 

RAY: Neither do I. I'm going to give you your clothes. I'll set them on the floor in front of the door. Then I'm going to wait across the room so you can get them. Get dressed and then we'll talk. Will you do that?

 

No reply.

 

RAY: Sandy?

 

SANDY (O.S.): No funny business.

 

INT. HOTEL - RAY'S ROOM - LATER

 

The bathroom door opens and Sandy comes out, dressed. Ray is waiting across the room.

 

SANDY: Who are you, really? Where's Ray?

 

RAY: As far as I know, I'm Ray. I think like Ray. I'm wearing his clothes.

 

SANDY: You don't exactly look like him.

 

He takes out his wallet and looks at it. He holds it up for Sandy, who waits across the room.

 

RAY: I have Ray's wallet.

 

SANDY: I want to leave now.

 

RAY: Did anyone come in here last night?

 

SANDY: No.

 

RAY: The champagne. Where did you get the champagne?

 

SANDY: They gave it to me.

 

RAY: Who gave it to you?

 

SANDY: One of the hotel people. They said it was from the company. I thought you were celebrating a promotion. I really want to go now.

 

RAY: How can I get ahold of you?

 

She starts moving toward the door.

 

SANDY: Can't we just forget this? I don't know who you are or what is going on, but I stayed here til morning and that's all I was supposed to do.

 

She's close enough to the door to make a beeline for it. Suddenly she's gone.
 16.

 

Ray is alone in the room. He goes to the mirror again and stares at himself. Total disbelief and horror.

 

INT. HOTEL - LOBBY - DAY

 

Ray comes out, neatly dressed. He carries his suitcase and briefcase.

 

He starts to enter the lobby but abruptly stops. He sees Howard ahead.

 

Ray turns and sees himself in the mirror. He looks frightened.

 

He looks around and finds a back exit sign. He heads for it.

 

EXT. HOTEL - SIDE EXIT - DAY

 

Ray comes out of the hotel and walks along the side of the building to the front sidewalk.

 

He looks up and down the street. He sees a bank up the way.

 

EXT. STREET - DAY

 

He walks to the bank and to an ATM along the sidewalk. He pulls a card from his wallet. Inserts it. Bingo, it works fine. He gets some cash.

 

Now what?

 

A taxi comes down the street, and Ray raises his arm to hail it. But it passes him right by, even though the cab is empty.

 

He waits -- and a second cab approaches.

 

RAY: Taxi!

 

And he is passed a second time by an empty cab. He looks puzzled by what has happened.

 

After a moment another cab approaches, and Ray steps into the street in front of it, raising an arm. The taxi screeches to a stop. Ray gets into the back.

 

INT. TAXI - DAY

 

The cabby turns around.

 

CABBY: You crazy sonofabitch, I coulda hit you!

 

RAY: I wanted to make sure you stopped.

 

CABBY: Jesus, mister ... so where to?

 

RAY: I don't know. Just drive around for a while.

 

The cabby turns back around and gives him a funny look in the rear-view mirror.

 

Ray stares at his hand. With the other hand, he tries to wipe away his blackness. No such luck.

 

INT. HOTEL - HALLWAY - RAY'S ROOM - DAY

 

Howard knocks on the door. Nothing. Again, louder. No response.

 

HOWARD: (through door) Ray?

 

Howard looks at his watch. He steps away.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice is unpacking groceries she bought on the way to work.

 

Janet hurries in.

 

JANET: I'm expecting a call from Mr. Bunning. Be sure to take a message. I'm running late.

 

And she's gone.

 

Eunice goes back to work, mumbling to herself.

 

EUNICE: You're welcome.

 

EXT. CITY - STREET - DAY

 

The taxi is caught in traffic.

 

INT. TAXI - DAY

 

Ray leans forward to speak to the driver.

 

RAY: I need to make a phone call.

 

CABBY: You probably got time to use that pay phone on the corner. Leave your luggage in the cab, though.

 

EXT. CITY - STREET - DAY

 

Ray gets out and trots to the pay phone. He dials.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice is mopping the kitchen floor when the phone rings. She picks it up.

 

EUNICE: Hello?

 

OPERATOR: (filtered) Will you accept a collect call from Ray Bunning?

 

EUNICE: Yes, ma'am.

 

INTERCUT

 

RAY: Eunice, is Janet there?

 

EUNICE: Who is this?

 

RAY: It's Ray. Mr. Bunning.

 

EUNICE: You don't sound right. You coming down with something?

 

RAY: Yes, I think so. Give me Janet, please.

 

EUNICE: She left about thirty minutes ago. I'm not sure when she'll be back.

 

RAY: Damn.

 

EUNICE: Can I help?

 

RAY: Don't I wish.

 

EUNICE: Are you at the conference?

 

RAY: Something came up, I'm coming back early. Tell Janet I'll be in touch soon. And if my brother calls, tell him I need to speak to him right away. Tell him to stay put and wait for my call.

 

EUNICE: Yes, sir. I hope you're doing something for that cold, you sure don't sound good.

 

INT. TAXI - DAY

 

Ray climbs back in.

 

RAY: Back to the hotel.

 

CABBY: Whatever you say.

 

EXT. HOTEL - DAY

 

The cab pulls up.

 

INT. TAXI - DAY

 

RAY: I want you to wait for me, I won't be long. Then we're going to the airport.

 

INT. HOTEL - MEETING ROOM - DAY

 

A press conference is in progress in a large meeting room. At a table up front sits Howard, along with other mid-level company executives.

 

A large banner proclaims: "BeautiLine: Products for Beautiful Humans!"

 

Another banner reads: "Temporary Genetic Manipulation (TGM) Means Choice!"

 

Ray enters and stands in back, looking quickly around the room.

 

A woman moves beside him. This is MARY, a reporter.

 

MARY: How much did I miss?

 

RAY: I just got here myself.

 

MARY: Who do you write for?

 

RAY: I'm just looking for someone. I guess he's not here.

 

MARY: They're sure hyping the hell out of this, aren't they? I think a suntan pill sounds spooky.

 

Ray stares at her.

 

MARY: What am I doing for lunch, right?

 

RAY: Listen: if you want a real story, ask them about the research on VitaTan. Ask them about the genetic side effects in white mice.

 

He quickly heads off.

 

MARY: Wait a minute! Who are you?

 

INT. HOTEL - LOBBY - DAY

 

Mary catches up with him.

 

MARY: That was a hell of an exit speech. How much of it is true?

 

RAY: All of it.

 

MARY: How do I know that?

 

RAY: I have company documents to prove it.

 

MARY: Can I see them?

 

RAY: Give me your card. I'll mail copies to you.

 

MARY: Right. If this is a come-on, it's really original.

 

Ray steps away and she catches up again, holding out her business card.

 

MARY: Wednesdays are my best day for lunch.

 

Ray takes the card and continues on.

 

EXT. AIRPORT - TERMINAL - DAY

 

The cab drops Ray off at the airport.

 

INT. AIRPORT - BOARDING AREA - DAY

 

Ray is at a pay phone, waiting.

 

INT. ANDY'S APARTMENT - DAY

 

Andy picks up.

 

INTERCUT

 

ANDY: Hello?

 

RAY: Jesus, Christ, where the hell have you been? I've been trying to get you since yesterday.

 

ANDY: I'm sorry, you must have the wrong number.

 

RAY: This is Ray.

 

ANDY: I beg your pardon?

 

RAY: It's me, goddamn it!

 

ANDY: What number are you calling?

 

RAY: Andy, it's Ray! Something's happened to me!

 

INT. AIRPORT - BOARDING AREA - DAY

 

Ray hears the CLICK as Andy hangs up. He hurries to board the plane.

 

INT. BUNNING HOME - DINING ROOM - DAY

 

Eunice puts the finishing touches on a formal dinner setting for two.

 

Janet comes in and admires the table.

 

JANET: You've done a lovely job.

 

EUNICE: You sure you don't need help with dinner?

 

JANET: I have all afternoon to prepare dinner. You go home and enjoy your time off.

 

EUNICE: Yes, ma'am.

 

She starts away, remembers something and stops.

 

EUNICE: Oh, I forgot to tell you. Mr. Bunning called. He's coming home early.

 

JANET: Why?

 

EUNICE: He didn't really say.

 

JANET: How early?

 

EUNICE: He didn't really say that either.

 

JANET: Well, Christ. Thank you.

 

She leaves, as Eunice watches.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Eunice sits over coffee. Ruby comes into the kitchen.

 

RUBY: Well? Did she turn into a black woman?

 

EUNICE: Of course she didn't turn into a black woman.

 

RUBY: Boiling over probably ruined it. Want me to try again?

 

EUNICE: No!

 

EXT. BUNNING HOME - NIGHT

 

A taxi pulls up.

 

INT. TAXI - NIGHT

 

Ray pays the fare.

 

RAY: Listen, I may not be going in. Could you wait a minute? I'll signal you if it's okay to go.

 

CABBY: I can't wait too long without turning on the meter.

 

RAY: No problem.

 

He gets out.

 

EXT. BUNNING HOME - NIGHT

 

Ray walks to the front porch. He hears music inside. He looks in the front window.

 

Through the living room, he can see Janet and HARRIET, her sister, at the dining room table.

 

Janet and Harriet are engaged in serious conversation. Janet looks like she's been crying.

 

Ray is still, thinking. He finally rings the doorbell. In a moment, Janet answers.

 

JANET: Yes?

 

Ray says nothing.

 

JANET: If you're looking for Eunice, I let her off early today.

 

RAY: Don't you recognize me?

 

Ray's voice cracked. He's flustered. He shouldn't have done this.

 

JANET: Should I?

 

RAY: I'm sorry. No, I suppose not ...

 

He backs off the porch, looking almost horrified. Janet closes the door.

 

INT. BUNNING HOME - DINING ROOM - NIGHT

 

Janet returns to the dinner table.

 

JANET: That was strange.

 

HARRIET: Who was it?

 

JANET: A black man looking for the housekeeper. He seemed to think we'd met before. He was disappointed I didn't remember. Can you imagine?

 

INT. TAXI - NIGHT

 

Ray gets back into the cab.

 

RAY: Back toward town.

 

EXT. ANDY'S APARTMENT - NIGHT

 

Ray stands at the buzzer to Andy's apartment. He takes a deep breath and pushes it. And again.

 

Andy's voice comes over a speaker.

 

ANDY (O.S.): Who is it?

 

RAY: You were born on July 12, 1978. Your favorite jazz singer is Kelly Broadway. In college, you smoked Troost slices in a cheap corncob pipe.

 

ANDY (O.S.): Who is this?

 

RAY: It's Ray.

 

ANDY (O.S.): What happened to your voice?

 

RAY: Buzz me in.

 

ANDY (O.S.): (lying) Look, I feel like shit. You woke me up.

 

RAY: You lost your virginity with Susie McPherson when you were in junior high.

 

The door buzzes, and Ray pushes in.

 

INT. ANDY'S APARTMENT - NIGHT

 

Andy opens the door -- and Ray barges in before Andy can see him and change his mind.

 

RAY: Andy, don't do anything rash. I swear to God this is me.

 

ANDY: I'm really confused here.

 

RAY: I'm as confused as you are. They must've put something in the champagne. Whatever they use in VitaTan maybe. Would an overdose do this?

 

Andy stares at him.

 

ANDY: What was the maiden name of my first wife?

 

RAY: Joyce Perry. Redhead, earth mother type.

 

ANDY: My second wife.

 

RAY: Candy Love. I swear to God, could I invent a name like that? This is me, brother.

 

ANDY: Ray could've told you all those things.

 

RAY: Look at me, for God's sake! Ask me anything.

 

ANDY: I need a drink.

 

RAY: Double scotch.

 

INT. ANDY'S APARTMENT - KITCHEN - NIGHT

 

They've been drinking at a small table in the kitchen. Andy pours two more scotches, neat.

 

ANDY: They always win. It was a hopeless cause from the beginning.

 

RAY: I met a reporter. I'm going to send her the documentation.

 

ANDY: It's too late. By the time she does anything about it, if she does--

 

RAY: I can't let them get away with this.

 

ANDY: Look in the mirror. Who's going to believe you? I'm not sure I believe you myself.

 

Ray glares at him.

 

ANDY: That's certainly Ray's stare.

 

RAY: Didn't the lab make an antidote?

 

ANDY: There's no need if you use controlled amounts. It wears off naturally.

 

RAY: Bastards. I'm going to see a doctor.

 

ANDY: Think about that. What the hell are you going to tell him?

 

INT. DOCTOR'S OFFICE - DAY

 

Ray sits on a table with his shirt off. A doctor paces in front of him.

 

RAY: Don't tell me I need to see a shrink.

 

DOCTOR: That's exactly what I was going to do.

 

RAY: I know.

 

Ray hops off the table and starts dressing.

 

DOCTOR: Even if you're telling the truth, I can't help you. You need to see a skin specialist.

 

Still buttoning his shirt, Ray leaves.

 

INT. BAR - DAY

 

Ray sits alone at the end of a bar, thinking. He looks at his watch.

 

EXT. BUNNING HOME - DAY

 

Ray stands by a tree across the street from his house. Eunice comes out and starts walking down the sidewalk. Ray follows along across the street.

 

Behind Ray, a strange BLACK WOMAN follows. Her blonde hair is mostly hidden by a scarf.

 

THIS IS SANDY, who also has turned black.

 

EXT. STREET - BUS STOP - DAY

 

Eunice comes to a bus stop. Ray crosses the street and joins her.

 

Sandy stays across the street, watching him.

 

RAY: Do you know what time the bus comes?

 

EUNICE: It shouldn't be long.

 

There's an awkward moment between them.

 

EUNICE: You work around here?

 

RAY: No.

 

Eunice laughs.

 

EUNICE: If I may ask, then what on earth are you doing in this neighborhood? Don't you know you could get arrested?

 

Ray laughs, but it's forced.

 

RAY: I was visiting a friend.

 

Eunice gives him a disbelieving look.

 

RAY: Someone I work with. I had to bring him some papers from the office.

 

The bus appears. They both board it.

 

Sandy runs across the street to catch the bus but is too late, she misses it. She watches it disappear.

 

INT. BUS - DAY

 

Eunice pays her fare, then Ray.

 

She takes a window seat. Ray looks down at the empty seat beside her.

 

RAY: May I?

 

Eunice smiles and nods. Ray sits down. They ride along in silence.

 

INT. BUS - DAY - LATER

 

Eunice pulls the cord to get off.

 

EUNICE: This is my stop.

 

He steps into the aisle. She passes in front of him.

 

EUNICE: It was nice meeting you.

 

EXT. STREET - BUS STOP - DAY

 

Eunice steps off the bus. Ray steps off right behind her. She turns and is surprised to find him there.

 

EUNICE: You live around here?

 

RAY: I don't know how to say this -- but I wonder if we could go somewhere and talk. Maybe your place.

 

EUNICE: You want to come to my place?

 

She laughs.

 

RAY: It's important.

 

EUNICE: I been around the barn a few times, mister. You're going to have to do better than that.

 

RAY: Janet had her sister over for dinner last night.

 

EUNICE: How do you know about that?

 

RAY: She always talks to her sister when something's bothering her.

 

EUNICE: Maybe that's a wild guess

 

RAY: She and her husband have started sleeping in separate bedrooms. There're probably getting divorced. Actually, he suspects that she's been having an affair.

 

Eunice studies him.

 

EUNICE: You come with me.

 

She starts down the sidewalk and Ray follows.

 

INT. EUNICE'S HOME - DAY

 

Eunice comes into the house, followed by Ray.

 

EUNICE: Mother!

 

INT. EUNICE'S HOME - KITCHEN - DAY

 

They come into the kitchen, where Ruby sits at the table. Eunice looks at Ruby, then at Ray. She waits for them to say something.

 

EUNICE: Well, don't you two know each other?

 

RAY: No, we don't.

 

EUNICE: The crazy way you were talking, I thought you were another voodoo magician or whatever you call it.

 

RAY: Eunice--

 

EUNICE: How did you know my name?

 

RAY: I know this is going to be hard to believe, but I'm Ray Bunning. I woke up yesterday ... I know this sounds crazy ... I woke up and was black.

 

Ruby lights up.

 

RUBY: Then it almost worked!

 

RAY: What almost worked?

 

EUNICE: No, no way.

 

RUBY: Unless it was your hair. Then it did work.

 

RAY: What hair?

 

RUBY: Just a minute, I'll be right back.

 

She hurries out of the kitchen.

 

RAY: Do you know what she's talking about?

 

EUNICE: I don't think I want to know. Who are you really?

 

RAY: My last birthday, you gave me an electronic organizer. I still use it.

 

EUNICE: God help us.

 

She sits down at the table. Ruby comes in with the hair clip.

 

RUBY: Have you seen this before?

 

RAY: It belongs to my wife. How did you get it?

 

RUBY: Is there some way your hair could've gotten on it?

 

RAY: Not unless it was in the trash can.

 

RUBY: Then it worked! I did it!

 

RAY: Will someone explain to me what's going on?

 

Eunice looks at Ruby.

 

EUNICE: Explain it to me, too, while you're at it.

 

INT. EUNICE'S HOUSE - RUBY'S BEDROOM - NIGHT

 

Ruby has been describing her magical concoction.

 

RUBY: ...and I was supposed to stir it for fifteen minutes but it boiled over in about five. That's when Eunice came in.

 

EUNICE: You wouldn't believe the smell.

 

RUBY: And she poured water on it and everything, so I had no idea it was going to work. But look at you! It sure did work, didn't it?

 

Ray takes Eunice aside.

 

RAY: Can we speak privately?

 

EXT. EUNICE'S HOUSE - NEIGHBORHOOD - NIGHT

 

They are walking around the block.

 

RAY: I think they put something in my champagne. The company's been involved in biotechnology, a technique called TGM, Temporary Genetic Manipulation. They've developed a suntan pill, and I think they spiked my champagne with the ingredient they use.

 

EUNICE: The trouble white folks go to to get brown. Why are you telling me this?

 

RAY: I need a place to stay.

 

She stops, and he stops.

 

RAY: I meant, you're the only one who believes me. I was wondering if there's a motel around here. I'd like to keep in touch. I'm a little shaky about all this.

 

EUNICE: I imagine you are. There's a couple motels but you don't want to stay there unless you're looking for a hooker. You really think they did this to you at the conference?

 

RAY: Makes more sense than voodoo.

 

EUNICE: And they have reasons to do something like this to you?

 

RAY: I'm afraid they do.

 

EUNICE: Then you've got a world of troubles.

 

EXT. EUNICE'S HOUSE - NIGHT

 

Ray and Eunice stand outside. A cab drives up.

 

RAY: I'll be in touch. Don't tell Janet you saw me.

 

Eunice laughs.

 

EUNICE: I sure do wish I could tell that woman what I saw tonight! Lordy mama, I'd love to see her face when she found out she's married to a black man!

 

Ray climbs into the cab. He waves through the window, and she waves back.

 

EXT. BUNNING HOME - NEIGHBORHOOD - NIGHT

 

The cab is in Ray's neighborhood, about a block away. It pulls over and Ray gets out.

 

He walks the rest of the way to his house.

 

EXT. BUNNING HOME - NIGHT

 

Ray approaches the garage. He realizes he needs a remote to open it.

 

He moves to the side of the house. All the lights are off.

 

He goes to the front door and unlocks it.

 

INT. BUNNING HOME - NIGHT

 

Ray comes quietly in.

 

He moves slowly down the hallway. He stops at the open door of the master bedroom. He hears Janet snoring in there.

 

He retreats and goes to a door to the garage.

 

INT. GARAGE - NIGHT

 

Two cars are parked inside. He carefully opens the garage door.

 

He goes to the smaller of the two cars, a compact model, and gets in.

 

EXT. BUNNING HOME - NIGHT

 

Ray backs out the driveway.

 

Turning on the street, he turns on the car lights and drives away.

 

EXT. BUNNING HOME - DAY

 

Eunice approaches the house and sees several police cars parked out front.

 

INT. BUNNING HOME - DAY

 

Janet is talking to a POLICEMAN when Eunice enters.

 

JANET: Eunice, where have you been? We've been robbed!

 

EUNICE: I'm twenty minutes early, ma'am.

 

JANET: Put on a pot of coffee!

 

EUNICE: Yes, ma'am.

 

INT. BUNNING HOME - KITCHEN - DAY

 

The door from the kitchen to the garage is open. Eunice peers in and sees more POLICEMEN dusting for fingerprints.

 

Seeing that Mr. Bunning's car is missing, she smiles knowingly.

 

EXT. MOTEL - DAY

 

Ray's compact car is parked in front of a motel.

 

INT. MOTEL - DAY

 

Ray is on the phone.

 

RAY: It's an extreme emergency. As soon as the doctor sees me, he'll know what I mean. ... That'll work.

 

He hangs up.

 

INT. MEDICAL CLINIC - DAY

 

Ray sits on a table, buttoning his shirt. A DOCTOR enters and hands him a slip of paper.

 

DOCTOR: I made an appointment for you to see Dr. Mulligan.

 

RAY: What are you saying? You don't know what's wrong with me?

 

DOCTOR: This is more ... complicated ... than anything I've seen before. Dr. Mulligan is much better trained to help you. He can fit you in right away.

 

INT. BUILDING - HALLWAY - DAY

 

Ray walks down a hallway, looking for an office door number.

 

When he finds it, he reads: "Joseph M. Mulligan, Psychiatrist"

 

Ray turns and bolts away.

 

INT. RAY'S CAR - DAY

 

Ray is on his cell phone.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice is on the other end. INTERCUT

 

EUNICE: Think about it, Mr. Bunning. What do you expect a doctor to say, you walk in claiming to be a white man turned black? I'd send you to see a head doctor myself.

 

There's a silence.

 

EUNICE: What're you gonna do now?

 

RAY: I'm not sure. Can I call you at home tonight?

 

EUNICE: You can call me any time.

 

RAY: How's Janet doing?

 

EUNICE: She went out.

 

RAY: In general. Does she wonder where I am?

 

EUNICE: To be honest, she hasn't mentioned it.

 

INT. ANDY'S APARTMENT - DAY

 

Andy opens the door to find Ray, who steps inside. Ray starts to speak but is surprised to find Howard in the room.

 

HOWARD: I think we were just talking about you. (to Andy) This is the one you were telling me about?

 

Andy nods.

 

RAY: (to Andy) What's he doing here?

 

HOWARD: Andy tells me you think you're Ray and that we did this to you.

 

RAY: WHAT'S HE DOING HERE?

 

ANDY: He knows everything.

 

HOWARD: I don't know what you two are trying to pull here, but you tell Ray Bunning that I'm very disappointed in him. If he had a problem about something, he should have come to me. We like to keep our squabbles in the family.

 

RAY: (to Andy) When did you know that he knew? Or did you tell him?

 

Andy turns away, not responding. He moves across the room.

 

When Ray steps to follow him, Howard stands in his way.

 

HOWARD: Listen here, mister. You've gotten all the mileage out of this stunt that you're going to get. Ray Bunning no longer is employed by BeautiLine. His termination papers are waiting for him on his desk. I trust you can get him the message.

 

RAY: Look at me, for Christ's sake! Don't you recognize me?

 

Howard studies him.

 

HOWARD: There's a resemblance, I suppose. Very convenient. Very clever.

 

RAY: What about you, Andy? You know who I am.

 

HOWARD: I think that's all we have to say here.

 

RAY: Andy?

 

Andy slowly turns toward him.

 

ANDY: He's right. You should've kept this in the family.

 

Ray glares at him. Then at Howard. He turns and goes, slamming the door.

 

HOWARD: Do you know what the hell is going on here?

 

ANDY: Not a clue.

 

EXT. CITY - STREET - DAY

 

Ray's compact car moves through traffic.

 

INT. RAY'S CAR - DAY

 

Ray is thinking. What now?

 

INT. NEWSPAPER OFFICE - DAY

 

Mary, the reporter, is at her desk when she looks up and finds Ray.

 

MARY: Why hello.

 

RAY: I have something for you.

 

He hands her a manila envelope.

 

RAY: I need these, so you have to make copies.

 

MARY: I can do that. Come with me.

 

INT. NEWSPAPER OFFICE - COPY ROOM - DAY

 

Mary is copying the documents as Ray watches.

 

MARY: I'm going to want to check your credentials.

 

RAY: That may be difficult. I no longer work at BeautiLine. They terminated me.

 

MARY: Wonderful. You're a disgruntled ex-employee.

 

RAY: These documents are accurate.

 

MARY: I'd like to talk to someone there who knows you.

 

RAY: Look, if you follow through on this, you'll have the story of your career. Maybe win yourself a Pulitzer Prize. Just leave me out of it for now.

 

MARY: Why?

 

RAY: I can't tell you.

 

MARY: That's not very encouraging. How do I know these are authentic?

 

RAY: I can't tell you how to do your job.

 

MARY: My, aren't we on a short fuse today?

 

The copying done, Ray grabs his originals and takes off.

 

INT. NEWSPAPER OFFICE - ELEVATOR - DAY

 

Mary catches up to Ray at the elevator.

 

MARY: This is my unlisted home number.

 

She hands him a slip of paper. The elevator arrives.

 

MARY: I think we're going to have to talk some more after I look these over.

 

Ray stuffs her number in a pocket and steps into the elevator.

 

INT. BUNNING HOME - DAY

 

Eunice opens the door to find a POLICEMAN and Howard from BeautiLine.

 

HOWARD: We're here to see Mrs. Bunning.

 

EUNICE: Come in.

 

Eunice leads them to a small room off the front hallway.

 

EUNICE: Who shall I say is calling?

 

HOWARD: Howard Jennings. She's expecting us.

 

INT. BUNNING HOME - DEN - DAY

 

Eunice enters the den, where Janet is working at a small desk.

 

EUNICE: Mr. Jennings is here, ma'am. A police officer is with him.

 

JANET: Thank you, Eunice. Have them wait for me in the living room.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice works in the kitchen. From time to time, she sneaks a look into the living room, where Janet is still meeting with Howard and the policeman.

 

The phone rings. Eunice answers.

 

INT. RAY'S CAR - DAY

 

Ray is on his cell phone. INTERCUT

 

EUNICE: Hello?

 

RAY: It's me.

 

Eunice speaks in a lower tone.

 

EUNICE: I was just trying to figure out how to get ahold of you.

 

RAY: What's up?

 

EUNICE: There's a policeman here and a Mr. Howard Jennings.

 

RAY: What do they want?

 

EUNICE: They've been talking to Mrs. Bunning. I don't know but it looks pretty serious.

 

RAY: See if you can find out and tell me tonight.

 

EUNICE: Why don't you come to dinner? Say seven?

 

RAY: Thanks, Eunice.

 

Eunice sees Janet getting up and heading for the kitchen.

 

EUNICE: She's coming. I have to hang up.

 

INT. BUNNING HOME - KITCHEN - DAY

 

She does just as Janet enters.

 

JANET: Who was that?

 

EUNICE: Somebody taking a survey. I figured you'd rather not be bothered.

 

JANET: Bring in some cake and coffee for us.

 

EUNICE: Yes, ma'am.

 

INT. MOTEL - DAY

 

Ray comes into his room. He automatically turns on the TV and goes into the bathroom.

 

While he is gone, his photograph (white) comes onto the screen during a news program. The volume is too low to hear.

 

When Ray returns, his photo is gone and the news continues. He stretches out on the bed. He picks up the remote and starts channel surfing.

 

EXT. BUNNING HOME - DAY

 

Janet stands on the porch, seeing off Howard and the policeman.

 

INT. BUNNING HOME - DEN - DAY

 

Janet is dialing a number when Eunice enters. She stops.

 

JANET: Yes, what is it?

 

EUNICE: I thought I'd do some dusting, ma'am.

 

JANET: Later. I have some private business to take care of.

 

EUNICE: Yes, ma'am.

 

She leaves. Janet finishes dialing.

 

Her expression tells us: no one is picking up. She leaves a message.

 

JANET: I have to see you. The police were here. They're saying Ray embezzled some money. Please call me as soon as you can.

 

She hangs up. She's worried.

 

INT. MOTEL - NIGHT

 

A dark room. Ray is still stretched out on the bed. He wakes. He sees the digital clock next to the bed. When the time finally registers, he sits up abruptly and turns on the bedside lamp.

 

INT. EUNICE'S HOME - NIGHT

 

Eunice lets Ray in.

 

RAY: Sorry I'm late.

 

EUNICE: I am so relieved to see you! I thought you were in jail by now.

 

RAY: Why would I be in jail?

 

EUNICE: You're right, they wouldn't know it's you. But Ray Bunning is a wanted man all of a sudden. You haven't seen the news?

 

RAY: What did I do?

 

EUNICE: You embezzled a mess of money, and you're out to ruin the company besides. They say you're angry because you didn't get a promotion.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Ray, Eunice and Ruby sit around the table. Each has a bottle of beer.

 

Ruby is looking through one of her magic books. Ray looks amused.

 

RUBY: Here it is. It's supposed to last five to seven days.

 

RAY: Let me see.

 

He looks at the book.

 

RAY: I can't understand any of this.

 

RUBY: I didn't do a full recipe. You be a white man again before you know it. Damn shame, too. You look pretty good this way.

 

EXT. EUNICE'S HOUSE - NIGHT

 

Ray and Eunice walk to his car.

 

RAY: I need to get another car. They'll be looking for this one.

 

EUNICE: Yes, they will.

 

RAY: And I should start using cash. They'll be tracing my credit card. I used it at the motel.

 

EUNICE: Then I wouldn't stay there tonight.

 

RAY: Just what I was thinking. I can only get two hundred a day from the machines, but I should be okay if I keep moving. I hope what the company did is as temporary as what your mother does.

 

EUNICE: In Haiti, where she's from, all that magic stuff is like a religion. She's always been like this.

 

RAY: You never lived there?

 

EUNICE: No, I was born here. When my parents split up, mother went back and I stayed with dad.

 

RAY: I usually don't go in for the occult, but I'm beginning to hope your mother did this.

 

EUNICE: Why?

 

RAY: I trust her more than the company. Goodnight. And thank you, Eunice. You're keeping me sane -- sort of.

 

EUNICE: I'm glad to help.

 

Ray gets in the car and drives away.

 

EXT. CITY - STREET - NIGHT

 

Ray's car pulls into the parking lot of a convenience market.

 

INT. MARKET - NIGHT

 

Ray goes down an aisle, looking for something. He picks out toothpaste and a toothbrush. A bar of soap. Some mouth wash.

 

He checks out at the counter.

 

Through the window he sees a police car pull into the lot. It parks near his car.

 

Ray hesitates -- what to do now? The policemen are headed for the door to come into the store.

 

Ray hurries down an aisle, walking to the end of it. The policemen enter and go to the back of the store, where the soda pop is.

 

Ray quickly steps to the door and outside.

 

EXT. MARKET - NIGHT

 

He abandons his car and walks quickly out of the parking lot and down the street.

 

EXT. BANK - NIGHT

 

Ray stands at an ATM machine, withdrawing money.

 

EXT. STREET - NIGHT

 

Ray walks down a busy street.

 

Suddenly a police car swerves to the curb beside him. Two POLICEMEN get out -- they are different officers from the ones in the market. They draw their guns.

 

POLICEMAN

 

2: Freeze!

 

RAY: (without thinking) Don't shoot! I'm white!

 

POLICEMAN

 

2: Face down on the ground! Now!

 

When Ray hesitates, POLICEMAN

 

1 attacks him. He throws Ray to the ground on his stomach and twists his arms behind his back. He starts to put on handcuffs. Ray can't speak. He is terrified.

 

POLICEMAN

 

2: Jim, he ain't the one.

 

POLICEMAN

 

1: You sure?

 

POLICEMAN

 

2: Positive.

 

POLICEMAN

 

1: Shit.

 

Policeman

 

1 gets up. He looks down at Ray on the ground.

 

POLICEMAN 1: Carry on.

 

POLICEMAN 2: Goodnight.

 

They get in their squad car.

 

INT. SQUAD CAR - NIGHT

 

Policeman 1 is behind the wheel. He laughs.

 

POLICEMAN 2: "Don't shoot! I'm white!" Can you believe it?

 

POLICEMAN 1: Maybe he's got a white daddy.

 

POLICEMAN 2: Maybe daddy wears a badge.

 

They grin, shake their heads, and peel out of there.

 

EXT. STREET - NIGHT

 

Ray slowly gets to his feet. He brushes himself off and tries to catch his breath.

 

EXT. MOTEL 2 - NIGHT

 

Ray comes out of the office of another motel and walks to his room.

 

INT. MOTEL 2 - ROOM - NIGHT

 

Ray enters and turns on the light. The room is not much to look at.

 

He goes to the bed and collapses.

 

INT. EUNICE'S HOME - EUNICE'S BEDROOM - NIGHT

 

Eunice is asleep. The phone rings. Again. She reaches for it.

 

EUNICE: Hello?

 

INT. MOTEL 2 - ROOM - NIGHT

 

Ray is calling her. INTERCUT

 

RAY: It's me.

 

EUNICE: What time is it?

 

RAY: I'm sorry. I shouldn't have called.

 

Something in his voice concerns her. She sits up.

 

EUNICE: What's the matter?

 

He doesn't reply.

 

EUNICE: Ray?

 

RAY: The police stopped me tonight. They drew guns on me.

 

EUNICE: Are you in jail?

 

RAY: They let me go. It just really freaked me out. I'm sorry, I shouldn't have called.

 

EUNICE: Do you want to come over?

 

RAY: No. Go back to bed.

 

EUNICE: You're sure you're okay?

 

RAY: Much better now. I'll call you tomorrow.

 

EUNICE: It is tomorrow.

 

RAY: Right. Shit. I'm sorry.

 

EUNICE: It's okay. You sure you don't want company?

 

RAY: Goodnight, Eunice.

 

He hangs up. She hangs up.

 

EXT. MOTEL 2 - DAY

 

Ray comes out of the motel.

 

EXT. BANK - DAY

 

A different ATM. Ray withdraws more money.

 

EXT. STREET - PAY PHONE - DAY

 

Ray takes out the slip of paper Mary gave him.

 

INT. NEWSPAPER OFFICE - MARY'S DESK - DAY

 

Mary picks up the phone.

 

MARY: Hello?

 

INTERCUT

 

RAY: So what did you find out?

 

MARY: I know your voice. I don't know your name.

 

RAY: Did you check it out or what?

 

MARY: These things take time. But I need to talk to you. Can you meet me for lunch?

 

RAY: I'm not sure.

 

MARY: It's important.

 

RAY: Will you be alone?

 

MARY: Of course I'll be alone.

 

RAY: Where?

 

MARY: Dixie's downtown at 13th and Main. One-thirty, after the crowd.

 

She hears a CLICK.

 

EXT. STREET - PAY PHONE - DAY

 

Ray steps away from the phone.

 

A police car passes by on the street. He freezes. But it keeps going on.

 

EXT. DOWNTOWN - DIXIE'S CAFE - DAY

 

Ray approaches Dixie's Cafe. He looks up and down the street for anything suspicious.

 

Finally he enters.

 

INT. DIXIE'S CAFE - DAY

 

Ray finds Mary in a corner booth in the back. He slides in.

 

MARY: This private enough for you?

 

A WAITRESS has followed him to the table.

 

RAY: Just coffee. (to Mary) I can't stay long.

 

MARY: (to waitress) Make it two. Decaf, cream for me.

 

RAY: Black, decaf is fine.

 

The waitress moves off.

 

MARY: The test results you gave me are phony.

 

RAY: What are you talking about?

 

MARY: The tests were never performed. I talked to the independent lab.

 

RAY: Then there's a cover-up.

 

MARY: There's also a problem with the memos. The letterhead uses the old logo. BeautiLine changed its logo in July, '98. Whoever typed those did it on old letterhead.

 

RAY: So what? We're using old letterheads internally all the time.

 

MARY: I checked. Company policy was to recycle all old stationery. All departments were issued complete sets of replacement supplies.

 

Ray looks caught between a rock and a hard place.

 

MARY: So you want to tell me what all this is really about? Is it just you being pissed off at the company?

 

RAY: Sorry to waste your time.

 

He slides out.

 

MARY: Are you working with Ray Bunning?

 

This stops him. He sits back down and leans across the table.

 

RAY: I am Ray Bunning.

 

Mary just looks at him.

 

RAY: I don't know about independent labs and old logos, but I do know who I am and what was done to me.

 

MARY: And you expect me to believe this?

 

RAY: I don't give a damn what you believe, lady.

 

He scoots out and is gone, leaving behind a very confused reporter.

 

Finally she gets to her feet and hurries after him.

 

EXT. DIXIE'S CAFE - DAY

 

Ray comes out and turns up the street.

 

A moment later, Mary comes out. She sees him ahead and starts trotting after him.

 

EXT. DOWNTOWN - STREET - DAY

 

Mary finally catches up with him.

 

MARY: I need to know how to get ahold of you.

 

RAY: Why? So you can call me a liar?

 

MARY: So we can talk more about this.

 

RAY: What's the point?

 

MARY: Maybe you can convince me you're telling the truth.

 

He studies her.

 

MARY: Now that would be a hell of a story.

 

RAY: You can leave a message for me with the housekeeper at my home. Ray Bunning's home. Just don't let my wife know.

 

MARY: That'll work.

 

RAY: And I am telling you the truth.

 

Their eyes lock. Then Ray breaks it and goes.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Eunice is doing dishes when the telephone rings.

 

INTERCUT

 

Ray is calling from yet another motel room.

 

EUNICE: Hello?

 

RAY: Is it safe to talk?

 

EUNICE: Your wife went out with her sister.

 

Ray doesn't reply.

 

EUNICE: Mr. Bunning?

 

RAY: Please call me Ray.

 

EUNICE: That feels awkward as long as I'm wearing this apron. Are you still upset?

 

RAY: Not really. I just feel like you're the only one I can talk to.

 

EUNICE: Do you want to come to dinner again tonight?

 

RAY: I was hoping you'd ask.

 

EXT. BUNNING HOME - DAY

 

Eunice comes out after work.

 

As she's walking to the bus stop, Sandy (black) comes beside her.

 

SANDY: Excuse me. I saw you with a friend of mine yesterday. Would you give him this?

 

She holds out a business envelope.

 

EUNICE: What friend was that?

 

SANDY: Well, he sort of ... he uses different names. Sometimes it's Ray Bunning.

 

EUNICE: And what does this Ray Bunning look like?

 

SANDY: Medium build, nice looking ... a black man.

 

EUNICE: Ray Bunning is a black man?

 

SANDY: You were at the bus stop together the other day. It's very important that he gets this.

 

Eunice finally takes the envelope. As soon as she does, Sandy turns and steps quickly away.

 

EUNICE: (after her) Miss? What did you say your name was?

 

EXT. EUNICE'S HOUSE - NEIGHBORHOOD - NIGHT

 

Ray walks down the sidewalk toward Eunice's house. He passes a house where several people have congregated on the front porch. LAUGHTER comes from the porch. Warmth fills the neighborhood.

 

He continues on, looking as he feels, which is very out of place.

 

INT. EUNICE'S HOME - NIGHT

 

Eunice opens the door, and Ray steps in. She immediately sees a difference in him -- he looks very tired and alone.

 

EUNICE: Are you okay?

 

RAY: I don't think so.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Ray and Eunice sit across from one another at the small table. She pours them white wine.

 

Sitting down, she drops the envelope in front of Ray.

 

EUNICE: A woman gave me this. She knows you're black.

 

Ray stares at the envelope, then opens it.

 

EUNICE: What is it?

 

RAY: I'm not the only one.

 

EUNICE: You mean, that was really a white woman?

 

Ray nods.

 

RAY: It was the champagne after all. We're the only two who drank it.

 

Ruby rushes into the room.

 

RUBY: You better come see this.

 

INT. EUNICE'S HOME - LIVING ROOM - NIGHT

 

On the TV is an artist's sketch of a black man, who roughly looks like Ray does now.

 

RUBY: They say that's his accomplice.

 

RAY: Terrific. Now they're looking for both of me.

 

EUNICE: You can't afford to be seen anywhere. I think you'd better stay right here.

 

RUBY: You only have to wait a few days before the magic wears off.

 

Ray and Eunice exchange a glance.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Ray and Eunice are back at the small table.

 

RAY: This was supposed to be my swan song. Leave the corporate world in a blaze of glory, doing the public good.

 

EUNICE: You were quitting your job anyway?

 

RAY: I'm going back to teaching. I miss it.

 

EUNICE: I didn't know you were a teacher.

 

RAY: My first wife, Heather, and I taught in the same high school. When she died, I couldn't stand being there any more. So I left. Big mistake.

 

EUNICE: I'm sorry. How did she die?

 

RAY: Leukemia. It was amazingly swift. And merciful, finally. I met Janet on the rebound. Another mistake. I hope you're a little better at Life than I am.

 

EUNICE: I've made my share of mistakes.

 

RAY: None too serious, I hope.

 

EUNICE: Not too.

 

RAY: I'm still making mistakes. Trusting my brother -- half-brother, really. He's the only one who knew what I was doing. He must've told the company.

 

EUNICE: He'd do such a thing?

 

RAY: I don't know what else to think. You know what's crazy? He didn't recognize me. Janet didn't recognize me. At first I thought it was just that they didn't really look at me, didn't really see me. But when I look in the mirror, sometimes I barely recognize myself. Then when the police stopped me last night, and I saw those guns pointed at me ... it's like color changes everything.

 

EUNICE: More than you know.

 

RAY: I'm learning fast.

 

INT. EUNICE'S HOME - LIVING ROOM - NIGHT - LATER

 

Eunice makes Ray a bed on the divan.

 

RAY: I want to meet with Sandy tomorrow.

 

EUNICE: It might be safer if she came here.

 

RAY: It's not the only thing I have to do.

 

EUNICE: I'm going to worry about you if you leave.

 

RAY: Thanks. And for believing me.

 

EUNICE: To be honest, I'm not sure what I believe any more. Mother's going to be so disappointed when she learns she didn't do it.

 

RAY: We won't tell her.

 

She smiles, not without flirtation, and goes to the light switch.

 

EUNICE: Goodnight, Mr. Bunning. Ray.

 

Ray crawls into bed.

 

RAY: Goodnight, Eunice.

 

She turns off the light.

 

INT. EUNICE'S HOME - LIVING ROOM - DAY

 

Ray stirs. Early morning, the house is quiet. He slips off the divan and straightens his clothes. He tiptoes to the door and leaves.

 

INT. EUNICE'S HOME - EUNICE'S BEDROOM - DAY

 

Eunice gets out of bed and puts on a robe.

 

INT. EUNICE'S HOME - LIVING ROOM - DAY

 

She comes into the living room -- and finds it empty.

 

INT. EUNICE'S HOME - KITCHEN - DAY

 

And finds the kitchen empty as well.

 

She sits down at the table and puts her head in her hands.

 

Ruby enters in her robe.

 

RUBY: What's the matter?

 

EUNICE: He left. He's just inviting the police to find him.

 

RUBY: Maybe there's something else I can do.

 

EUNICE: Mother, maybe you'd better leave well enough alone.

 

EXT. STREET - BUS STOP - DAY

 

Ray steps onto a bus.

 

INT. ANDY'S APARTMENT - BEDROOM - DAY

 

Janet is dressing as Andy watches from bed. The doorbell rings. Janet freezes.

 

JANET: Andy?

 

He darts out of bed and grabs his robe.

 

JANET: Who would be here at this hour?

 

The doorbell rings again.

 

ANDY: I don't know. I'm closing the door behind me, and you're staying put.

 

JANET: What if it's him?

 

Andy doesn't reply.

 

INT. ANDY'S APARTMENT - DAY

 

Andy opens the door. Ray steps forward and shoves him across the room.

 

RAY: That's on general principles.

 

ANDY: For what? I'm not the one embezzling money.

 

Ray studies him. A change of tactics.

 

RAY: Nor am I. You were right the first time. I'm not Ray.

 

Andy doesn't reply. He is aware that Janet is listening from the bedroom.

 

RAY: I'm a friend. I want to know why you blackmailed him. What did you tell Jennings about him?

 

ANDY: I didn't tell him a thing.

 

RAY: What did he ever do to you?

 

ANDY: I have to get ready for work. If you see my brother, tell him it's not too late to get with the program. I can put in a good word for him.

 

RAY: Get with the program?

 

ANDY: To stop making waves. Be a team player. He's not getting any younger. He's not going to get too many more chances.

 

RAY: Jesus, you're really something.

 

ANDY: If you don't leave, I'm calling the police.

 

RAY: Yes, I bet you would.

 

He stares at Andy. Then he turns and leaves. Janet comes slowly into the room.

 

JANET: He came to the house last night. I thought he was looking for my housekeeper. Who is he?

 

ANDY: He said he's a friend of Ray's.

 

EXT. ANDY'S APARTMENT - DAY

 

Ray comes outside.

 

He walks briskly to a bus stop. He looks up the street for the next bus.

 

EXT. BUNNING HOME - DAY

 

Eunice comes onto the porch and rings the doorbell. Nothing.

 

She rings it again. Waits. Still nothing.

 

She moves to the side of the house and looks in a window. No one seems to be home.

 

On the other side of the house, Janet's car pulls into the driveway.

 

Eunice comes around the house as Janet approaches the porch.

 

EUNICE: I was wondering where you went.

 

JANET: (making it up) I had to speak to the police again.

 

EUNICE: Really? Have they found something out?

 

JANET: If they did, they didn't tell me.

 

Janet unlocks the door, and they both enter.

 

EXT. STREET - BUS STOP - DAY

 

Ray steps off a bus and goes to a phone booth. He takes a note out of the envelope and dials a number on it.

 

EXT. DIXIE'S CAFE - DAY

 

Ray crosses to the cafe.

 

INT. DIXIE'S CAFE - DAY

 

He enters and looks around. He finds the black woman who is Sandy at a booth.

 

He joins her and sits down.

 

RAY: Sandy?

 

SANDY: What happened to us?

 

RAY: They put something in the champagne.

 

SANDY: Why?

 

RAY: They weren't after you, Sandy. They were after me.

 

SANDY: What are we going to do?

 

RAY: I don't know yet. But whatever it is, two of us are better than one. I'm glad you found me.

 

SANDY: When my apartment manager saw me like this, he called the police. I can't even stay in my own apartment. I've been staying in a motel.

 

RAY: I know the problem.

 

SANDY: I'm in real trouble in my business, too. You know what I mean? I can't keep my appointments.

 

RAY: Can't you go like you are?

 

SANDY: When a guy wants a blonde, he wants a blonde. All my regulars are getting really pissed.

 

RAY: Maybe you can get a new clientele.

 

SANDY: Very funny.

 

RAY: Listen, the good news is I don't think this is permanent. So we just have to lay low til it wears off.

 

SANDY: The police are after you.

 

RAY: I know.

 

SANDY: Did you do it? Take all that money?

 

RAY: No, but I wish I had.

 

INT. EUNICE'S HOME - NIGHT

 

Eunice opens the door to find Ray and Sandy.

 

RAY: I didn't know where else to go.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Eunice leads Ray and Sandy into the kitchen, where Ruby is stirring another concoction on the stove.

 

EUNICE: I thought you were going to bed.

 

RUBY: I got to take my medicine.

 

She pours the concoction into a coffee cub.

 

EUNICE: This is Ray's friend, Sandy.

 

RUBY: (to Ray) Well, it didn't take you long, did it?

 

She cackles and leaves.

 

EUNICE: (after her) Goodnight, mother.

 

INT. EUNICE'S HOME - LIVING ROOM - NIGHT

 

Eunice finishes making a second bed on the floor, using chair cushions.

 

EUNICE: It's the best I can do.

 

RAY: It'll be fine, thanks.

 

Sandy is on the divan. Ray gets into bed on the floor.

 

EUNICE: Goodnight, everybody.

 

SANDY: Goodnight.

 

RAY: Goodnight.

 

INT. EUNICE'S HOME - LIVING ROOM - NIGHT - LATER

 

The lights are out.

 

Ray turns over.

 

SANDY: Are you awake?

 

RAY: Very.

 

SANDY: I can't sleep. What time is it?

 

RAY: Midnight.

 

SANDY: It's early. Is there someplace around here to get a drink?

 

EXT. EUNICE'S HOUSE - NIGHT

 

Ray and Sandy come out of the house. Ray looks one way up the street, then the other.

 

He leads the way up the street, the opposite direction from the bus stop.

 

EXT. STREET - NIGHT

 

They're still walking along the sidewalk. A cab approaches.

 

RAY: Here we go.

 

Ray gets out in the street, waving for the cab. But the cab swerves and accelerates, passing by them without stopping.

 

SANDY: Why didn't he stop?

 

EXT. BUSINESS AREA - STREET - NIGHT

 

Ray and Sandy are still walking. The neon sign of a nightclub is ahead.

 

SANDY: You didn't tell me we'd be walking all the way.

 

INT. NIGHT CLUB - NIGHT

 

The nightclub is swinging, full of black patrons. Only a few white women are the racial exceptions.

 

As they enter, Ray hesitates, feeling out of place, but Sandy leads him to the bar. They squeeze in. The BLACK MAN next to Sandy is immediately taken by her.

 

BLACK MAN: Well, hello. This must be my lucky day.

 

INT. NIGHT CLUB - TABLE - NIGHT

 

Ray sits alone at a small table. He watches Sandy and the black man gyrate on the dance floor.

 

INT. NIGHT CLUB - DANCE FLOOR - NIGHT

 

The music stops. The man hands Sandy a business card.

 

BLACK MAN: You give me a call some time.

 

SANDY: I just may do that.

 

INT. NIGHT CLUB - TABLE - NIGHT

 

Sandy arrives at the table. Ray stands up.

 

RAY: Don't sit down. We're going.

 

SANDY: But I'm having fun.

 

RAY: Watching you dance inspired me. I've got a hell of an idea.

 

EXT. NIGHT CLUB - NIGHT

 

Ray and Sandy come out as a cab pulls to the curb, letting off two white women.

 

Ray rushes to the door. The cabby is black. Ray looks relieved.

 

RAY: You free?

 

The cabby grins.

 

CABBY: Get in.

 

INT. CAB - NIGHT

 

Ray and Sandy sit in the back seat.

 

SANDY: What if he doesn't let me in?

 

RAY: I can't imagine you'd let that happen.

 

SANDY: So I get in. How do I get his keys?

 

RAY: It would help if you got him to take off his pants.

 

SANDY: Very funny.

 

EXT. ANDY'S APARTMENT - NIGHT

 

A MAN goes to the front door and unlocks it. Ray and Sandy come out of the shadows behind him. When the man opens the door, Ray holds it open behind him.

 

RAY: Hey, how you doing?

 

The man does a double take, not sure what to do.

 

RAY: We're having a party in 411. Come on up.

 

The man hurries off.

 

INT. ANDY'S APARTMENT - FOYER - NIGHT

 

Ray and Sandy step inside.

 

RAY: He's in 304. There's a window in the living room that's above an alley. That's where I'll be.

 

SANDY: What if he's asleep?

 

RAY: He'll be watching television.

 

INT. ANDY'S APARTMENT - NIGHT

 

Andy is on the divan, his feet up on a coffee table, watching television.

 

The doorbell rings.

 

He's surprised by it. He slowly goes to the door. He listens.

 

The doorbell rings again. Andy cracks open the door.

 

ANDY: Yes?

 

SANDY: Howard Jennings sent me. It's important.

 

Andy opens the door and lets her in.

 

SANDY: He said you're getting promoted.

 

ANDY: Really?

 

SANDY: Well, I'm your celebration.

 

EXT. ANDY'S APARTMENT - ALLEY - NIGHT

 

Ray waits in the alley under Andy's window. He shuffles back and forth, getting impatient.

 

A noise upstairs. He looks up. Sandy is struggling with the window.

 

Finally it opens. She drops down a set of keys. Ray one-hands them and gives her a thumbs up. She gives him the finger.

 

EXT. BEAUTILINE INC. - CAMPUS - NIGHT

 

Ray heads for the R&D Building.

 

He stops. Ahead, a GUARD comes out of the building, making his rounds.

 

Ray moves off the path into shadows. The guard heads the other way.

 

Ray waits until the guard is out of sight. Then he hurries to the building.

 

A sign in front of the building reads "Research & Development."

 

Ray looks around. Clear. He takes out Andy's keys. He slips the key into the lock.

 

INT. BEAUTILINE INC. - R&D LAB - NIGHT

 

Ray comes into the building. He knows where he's going.

 

INT. R&D LAB - OFFICE AREA - NIGHT

 

Ray enters a large room divided into cubicles. Again, he knows where he's going.

 

He enters Andy's cubicle.

 

Andy's computer is on a screen saver. Ray sits down and tries to access information. Access is denied because he doesn't know the password.

 

Ray cusses under his breath.

 

INT. R&D LAB - HALLWAY - NIGHT

 

He comes out into the hallway. Now what? He looks one way and the other. He picks a direction.

 

INT. R&D LAB - TEST LAB - NIGHT

 

Ray enters a laboratory. Beakers, chemical equipment. Storage refrigerators along a wall.

 

He goes to a refrigerator and opens it. Bottles are labeled. He starts rooting through them. Nothing interesting.

 

He goes to the next refrigerator.

 

And finds something: a bottle is labeled "Tanning." A clear liquid fills the bottle.

 

Ray takes it.

 

He goes to file cabinets along a wall. Opens a drawer, looks at the tabs on files.

 

He finds a file called "Tanning." He grabs it.

 

EXT. BEAUTILINE INC. - R&D LAB - NIGHT

 

Ray comes out with the bottle and file folder. He looks around for the guard.

 

The coast is clear. He sprints across a lawn.

 

INT. EUNICE'S HOME - KITCHEN - DAY

 

Eunice is in her robe, making coffee. It's very early in the morning.

 

She hears a timid knock on the front door.

 

INT. EUNICE'S HOME - DAY

 

She opens the door, and Ray comes in. He looks tired, haggard.

 

RAY: I didn't know if you'd be up yet.

 

EUNICE: Where have you been?

 

RAY: I've been reading this.

 

He holds up the file.

 

RAY: It explains how they did this to me. I was right, they must've slipped me the ingredient in the new tanning pill. And this is it.

 

He brings out the bottle of clear liquid.

 

EUNICE: You broke into the company, didn't you?

 

RAY: Actually I used a key.

 

EUNICE: What're you going to do with that?

 

RAY: I'd like to get a few hours sleep before I think about it.

 

EUNICE: Where's Sandy?

 

RAY: She's crashing at my brother's.

 

EUNICE: Um-hm. Well, I think you'd better use my bed. That will keep mother out of your hair for a little while.

 

INT. ANDY'S APARTMENT - BEDROOM - DAY

 

Sandy and Andy are in bed together. Andy is snoring. Sandy opens her eyes. She's very still, listening. She carefully moves to get out of bed.

 

Doing so, she sees her hand: it's WHITE. Her arm, white. She gasps, then stops to measure if Andy heard. He's still snoring.

 

She carefully slips out of bed and tip toes to a mirror. It's true, she's white again!

 

She grabs her clothes and starts dressing.

 

INT. EUNICE'S HOME - BEDROOM - DAY

 

Ray is in bed, asleep. He's still black.

 

Eunice comes in with a pile of clean clothes. She quietly puts them into her chest of drawers.

 

Ray stirs. Eunice moves toward the bed.

 

RAY: Good morning.

 

EUNICE: I tried not to wake you.

 

RAY: You didn't.

 

EUNICE: Do you want to sleep some more?

 

RAY: I don't think so.

 

EUNICE: You want coffee?

 

Without responding, Ray holds out his arm. Eunice regards it, then finally reaches out and takes his hand.

 

Slowly, gently, Ray pulls her toward him, until she is bending down over him, their lips close. Ray sits up and kisses her on the lips. It's a slow, long, gentle kiss. When it's over, no one speaks for a moment. Then:

 

EUNICE: I'll make coffee.

 

She turns and leaves.

 

INT. EUNICE'S HOME - KITCHEN - DAY

 

Eunice is pouring coffee when Ray enters.

 

RAY: I know what I'm going to do.

 

EUNICE: Your enthusiasm scares me.

 

RAY: I can't tell you. I don't want you involved.

 

EUNICE: You know my number if you need to be bailed out. I even have a brother who's one hell of a lawyer.

 

RAY: I'll remember that. Eunice, about what happened, I-- ...

 

She quickly puts a finger to her lips.

 

EUNICE: Don't spoil it.

 

Ray nods -- and smiles.

 

EXT. HOTEL - DAY

 

A cab stops in front of the hotel. Ray gets out. He's looking sharp.

 

INT. HOTEL - BAR - NIGHT

 

A happy hour is in progress. Ray enters. He looks around. Nervous, he retreats.

 

INT. HOTEL - AREA OUTSIDE BAR - DAY

 

Ray sees a HOTEL EMPLOYEE approaching.

 

RAY: Excuse me. I'm with BeautiLine.

 

HOTEL EMPLOYEE: Yes, sir. How can I help you?

 

RAY: I have a surprise gift for the company president. They want to present it to him during their executive meeting. I'm not sure when or where that is.

 

HOTEL EMPLOYEE: That would be later today, sir. I could take the gift there for you if you like.

 

RAY: I need to set it up myself. Before they meet, of course.

 

HOTEL EMPLOYEE: Follow me, sir.

 

INT. HOTEL - MEETING ROOM - DAY

 

The employee lets Ray into a meeting room.

 

RAY: I won't be long.

 

HOTEL EMPLOYEE: Yes, sir.

 

The employee leaves. Ray inches into the room.

 

The usual long table. At the side, a portable bar. And a large bowl of punch, already filled.

 

Ray steps briskly to the punch bowl. He takes the "tanning" vial out of his pocket. He empties it into the bowl.

 

He hesitates, thinking.

 

He also empties a vodka bottle into the punch. He sees a cupboard. One by one, he removes the bottles of liquor from the portable bar and puts them into the cupboard.

 

He checks the result: the only visible thing to drink is punch

 

INT. HOTEL - LOBBY - DAY

 

Ray comes into the lobby.

 

Across the way, the hotel employee from earlier is standing with TWO POLICEMEN. He sees Ray and points. Ray turns and starts to bolt away. He runs smack into a SECURITY GUARD, who grabs him and puts a hold on him. The two policemen race up.

 

FIRST POLICEMAN: Let him go.

 

Ray shakes out his arms.

 

FIRST POLICEMAN: I.D., please.

 

Ray reaches for his wallet, then stops.

 

FIRST POLICEMAN: I want to see your identification.

 

Ray looks trapped. He makes a feeble attempt to get away but is easily grabbed.

 

The SECOND POLICEMAN takes out his wallet and opens it.

 

SECOND POLICEMAN: My, my. He's got the I.D. of a white man.

 

He shows the I.D. to his partner.

 

FIRST POLICEMAN: (to Ray, snidely) Now ain't this interesting?

 

EXT. POLICE STATION - DAY

 

Several police cars are parked outside.

 

INT. POLICE STATION - DAY

 

The two police officers lead Ray into an interrogation room. They put him in alone.

 

INT. INTERROGATION ROOM - DAY

 

A table, chairs. Ray paces the room.

 

The door opens and two detectives come in. These are JOE JOHNSON and SKIP YAMHILL. They wear suits.

 

JOE: Sit down.

 

RAY: No thanks.

 

Skip comes forward and shoves Ray into a chair.

 

JOE: It wasn't a question. Now, the first thing I want to know is, why do you have the wallet of a white man, and a wanted white man to boot? And the second thing I want to know is, why do you resemble the sketch of his accomplice?

 

RAY: I haven't done anything.

 

JOE: See if this makes any sense. You help Bunning embezzle money from his company. And then you get greedy. You don't want to share. Maybe he didn't even offer you a fifty-fifty split. So you take it all for yourself. Only you're not very careful. After you kill him, you do a dumb-ass thing like taking his wallet and keeping his I.D. in it.

 

Ray's mouth drops open. He says nothing.

 

SKIP: Silence don't help you. You're a suspect for murder here.

 

Ray can't believe it. No words come to him.

 

SKIP: If we're wrong, why don't you just tell us where we can find him?

 

RAY: You wouldn't believe me if I told you.

 

INT. POLICE STATION - DAY

 

Joe and Skip come out of the interrogation room.

 

JOE: Look black and white to you?

 

SKIP: All the way.

 

INT. INTERROGATION ROOM - DAY

 

Ray slowly puts his head down on the table.

 

INT. HOTEL - MEETING ROOM - DAY

 

Howard and other BeautiLine EXECUTIVES enter the meeting room. Among them are JASPER CUNNINGHAM, CEO (whom we saw briefly before) and MILLARD JAMES, an important VP.

 

HOWARD: Where the hell's the bar?

 

He smells the punch. He pours a cup and tastes it. Then he downs it and pours another.

 

HOWARD: It's got a nice kick. But we need a full bar.

 

He heads out to correct the situation.

 

Meanwhile all the executives pour themselves punch.

 

INT. EUNICE'S HOME - DAY

 

Ruby answers the door to find Sandy.

 

RUBY: Yes?

 

SANDY: It's me.

 

RUBY: I don't know you.

 

SANDY: Sandy. My blackness wore off. Is Ray here?

 

RUBY: You're his friend who was here?

 

SANDY: Exactly.

 

RUBY: You sure do look different white. I'd stay black if I were you.

 

SANDY: I need to see Ray.

 

RUBY: He ain't here, and Eunice is at work.

 

SANDY: Damn. Did he turn white, too?

 

RUBY: Not the last time I saw him. You can get Eunice where she works. You want the number?

 

SANDY: I know where it is.

 

EXT. BUNNING HOME - DAY

 

Eunice opens the door to find Sandy on the porch.

 

SANDY: It's Sandy. I turned back white.

 

Eunice quickly comes onto the porch and takes her aside.

 

EUNICE: I can't talk now. You know where The Main Street Bar and Grill is? I'll meet you after work.

 

SANDY: Did Ray turn white?

 

EUNICE: If he did, the police are going to flip out. He's in jail.

 

SANDY: For what?

 

EUNICE: They think he killed Ray Bunning.

 

INT. EUNICE'S HOME - DAY

 

Through a window Janice notices Eunice talking to Sandy on the porch.

 

She stops Eunice as she comes back in.

 

JANET: Who was that?

 

EUNICE: Someone asking directions. She's not even in the right neighborhood.

 

Eunice retreats to the kitchen.

 

INT. BUNNING HOME - KITCHEN - DAY

 

Janet comes into the kitchen. Eunice is at the sink.

 

JANET: They're saying Ray may have been murdered. I don't think so.

 

EUNICE: I don't either, ma'am.

 

JANET: I think he set it up to look like he was. He has such a devious mind.

 

Eunice doesn't reply.

 

INT. POLICE STATION - CELL - NIGHT

 

Ray sits in his cell when a guard appears. He is still black.

 

GUARD: It's your lucky night.

 

RAY: How's that?

 

GUARD: Somebody posted your bail.

 

Ray can't believe it.

 

EXT. POLICE STATION - NIGHT

 

Ray and Sandy come down the steps.

 

SANDY: Eunice told me everything. I thought you'd be white by now.

 

RAY: I drank a hell of a lot more than you. But it's got to be soon.

 

INT. EUNICE'S HOME - KITCHEN - NIGHT

 

Ray, Eunice, Sandy and Ruby sit around the kitchen table. Ruby looks glum.

 

Ray has just told them about spiking the punch with the tanning solution.

 

EUNICE: You are dangerous!

 

SANDY: It'll serve them right to turn black. No offense. I just mean, it's getting even.

 

RAY: It's to buy some time. I don't think they'll face the media or the stockholders if they're all black.

 

EUNICE: A-men. In a white world, you did the perfect counter-offensive.

 

RAY: Tomorrow I see that reporter again.

 

Ruby gets up and slowly starts away.

 

EUNICE: Going to bed, mother?

 

RUBY: I ain't no good for nothin'. I might as well pack it in. I ain't got no magic. I ain't got nothin'.

 

She leaves.

 

EUNICE: She'll get over it.

 

INT. HOWARD'S HOUSE - BEDROOM - DAY

 

Howard and his WIFE are in bed, waking. She rolls over and looks at him - and SCREAMS. Howard is BLACK.

 

INT. HOTEL - MEETING ROOM - DAY

 

Cunningham and James are waiting in the meeting room when Howard rushes in. All are very black.

 

CUNNINGHAM: Howard?

 

HOWARD: Mr. Cunningham?

 

CUNNINGHAM: What the hell is going on here?

 

INT. HOTEL - MEETING ROOM - DAY

 

The threesome above and half a dozen other executives, all black, are seated around a conference table.

 

CUNNINGHAM: Let's get to the bottom line -- how long are we going to be like this?

 

HOWARD: Depends on what dosage we got.

 

JAMES: How the hell can we face the stockholders like this?

 

CUNNINGHAM: We can't! Why isn't there an antidote?

 

HOWARD: I'm waiting to hear from R&D about that.

 

CUNNINGHAM: I don't want any word of this getting on. If WorldCo found out--

 

HOWARD: They won't. I'm sure the buyout will proceed on course.

 

CUNNINGHAM: I want to know who the hell did this, and I want to know today! Their ass is mine!

 

HOWARD: I've got an idea about that, sir. I'm getting right on it.

 

CUNNINGHAM: I'm depending on you.

 

HOWARD: Yes, sir.

 

INT. NEWSPAPER OFFICE - MARY'S DESK - DAY

 

Ray stands at Mary's desk. She shakes her head.

 

MARY: It's a fantastic story if it's true. But I can't write a word without something tangible. This is just a wild theory you have.

 

RAY: I made them all black. You can check it out yourself. They're going to have to cancel the stockholders meeting. Is that tangible enough for you?

 

MARY: If the meeting gets canceled, I'll look into it.

 

RAY: Are you always so distrustful?

 

MARY: It comes with the territory.

 

EXT. NEWSPAPER OFFICE - DAY

 

Ray comes out and walks to Sandy, who's been waiting outside.

 

SANDY: Is she going to help us?

 

RAY: Not yet.

 

SANDY: Now what?

 

RAY: You're going to rent us a car.

 

EXT. BEAUTILINE INC. - PARKING LOT - DAY

 

The rental car parks into the company lot. Ray (still black) and Sandy get out.

 

INT. BEAUTILINE INC. - FRONT DESK - DAY

 

Ray and Sandy face the RECEPTIONIST.

 

RECEPTIONIST: I'm sorry, Mr. Jennings is with the rest of our top executives at the stockholders meeting.

 

RAY: It wasn't canceled?

 

RECEPTIONIST: Of course not. Why should it be canceled?

 

RAY: Is Andy Bunning in?

 

RECEPTIONIST: He's been sick all week.

 

EXT. BEAUTILINE INC. - CAMPUS - DAY

 

Ray and Sandy come outside.

 

Across the way, they hear a commotion. Two SECURITY GUARDS are arguing with Howard Jennings, who is black.

 

RAY: I want to check this out.

 

Sandy reluctantly follows. They reach Howard and the guards.

 

HOWARD: Damn it, look at my I.D.! I'm the Director of Corporate Communications!

 

GUARD

 

1: If you don't leave, sir, I'm going to have to call the police.

 

Howard sees Ray: a moment of recognition, he's seen this "black man" before. Ray nods.

 

Howard pulls away from the guards.

 

HOWARD: Okay, I'm going. I'm going.

 

Howard gestures for Ray to follow, and the threesome head for the parking lot.

 

As they walk toward the parking lot:

 

RAY: Who are you?

 

HOWARD: You don't recognize me?

 

RAY: I'm not sure. Mr. Jennings?

 

HOWARD: Ray?

 

SANDY: Are you the one who did this to us?

 

HOWARD: (ignoring this) You're in deep shit here.

 

RAY: And you're not?

 

Howard storms ahead toward the lot.

 

EXT. BEAUTILINE INC. - PARKING LOT - DAY

 

They reach Howard's Mercedes.

 

HOWARD: You're coming with me. You're going to tell the executive board what happened.

 

RAY: Wait a minute. You've got it backwards. You're going to tell the police what you did to me.

 

SANDY: Hey! To me, too!

 

RAY: To us.

 

HOWARD: Like hell I am because I didn't do anything. Get in the car.

 

He opens the door but Ray doesn't budge. He turns to Sandy.

 

RAY: Let's get out of here.

 

They start away.

 

HOWARD: You're not screwing up the sale, Bunning!

 

This stops Ray in his tracks. He turns around.

 

RAY: What sale?

 

HOWARD: I thought you knew. It's why you did this.

 

RAY: I did this because it's what you did to me! What sale?

 

HOWARD: I had nothing to do with you turning black.

 

RAY: Then who did?

 

HOWARD: I have no idea.

 

RAY: And the rest? Phony embezzlement charges?

 

HOWARD: Sure, that was my idea. It's self-defense. You were going to break your confidentiality agreement. Biotechnology is the greatest advance since the industrial revolution. Everyone's scrambling to put down patents at the foundation of what will be a new world. I had to protect company interests.

 

RAY: But you didn't spike the champagne?

 

HOWARD: What champagne?

 

Howard gets in his car.

 

RAY: I want to know about the sale.

 

Howard starts the engine and pulls away. Ray watches him go.

 

SANDY: Can't we leave well enough alone? I'm sure you'll be back to normal by tomorrow.

 

RAY: Come on.

 

He takes Sandy's arm and heads for the rental car.

 

SANDY: I don't want to find out what happened! I just want to forget the whole thing!

 

INT. ANDY'S APARTMENT - DAY

 

Andy tears into his apartment. He's out of breath and sweating. His shirt is torn.

 

He kicks a piece of furniture.

 

He starts pacing the room, as if asking himself, What do I do now?

 

He takes a deep breath.

 

He goes to the phone. He takes a business card out of his wallet. He dials.

 

ANDY: (on phone) Mr. Willis, please. ... Would you tell him Andy Bunning called? I have a meeting with him this evening. ... Well, I was hoping to move it up -- but no, just tell him I'll see him then.

 

He hangs up.

 

Opens the phone book, finds a number. Dials.

 

ANDY: (on phone) I want to make a reservation. ... Kingston, Jamaica. ... As soon as possible. ... Tomorrow night is perfect.

 

INT. ANDY'S APARTMENT - BEDROOM - DAY

 

Andy is changing his shirt when the doorbell rings. He hesitates. It RINGS again.

 

He buttons up and heads out.

 

INT. ANDY'S APARTMENT - DAY

 

Andy opens the door.

 

Ray pushes Sandy in and comes in behind her. He glares at Andy.

 

RAY: What sale?

 

INT. ANDY'S APARTMENT - KITCHEN - DAY

 

They sit around a table over coffee.

 

ANDY: All the top execs are going to get filthy rich on this. The bottom line is, no one rocks the boat. Ray, I had no idea they'd do something like this. But what choice did I have? Once they found the original in the machine ...

 

RAY: I'm sure I didn't do that.

 

ANDY: All I can tell you is what Jennings told me, they found the last page in the machine with your card at the bottom. He told me they were putting you on leave until the sale was complete. Nothing more than that.

 

RAY: The sale's not going through.

 

ANDY: It's too late to stop it, Ray. Cover your losses, for God's sake.

 

RAY: Is that what you did?

 

ANDY: What choice did I have?

 

Ray studies him.

 

RAY: Did you spike the champagne?

 

ANDY: Jesus, is that how far gone you are now? I'm the one who let you copy the documents, remember? If you hadn't slipped up--

 

RAY: I didn't slip up!

 

ANDY: Whatever.

 

RAY: Little brother, all I know is, I don't think I can trust you.

 

ANDY: You've never trusted me, Ray. You've never even treated me like a real brother.

 

Ray stands up. Sandy stands up.

 

ANDY: I had to protect my ass with the company. If you had any sense, you'd do the same.

 

RAY: I hope I never have that kind of "sense".

 

Ray starts out.

 

SANDY: You should be ashamed of yourself. Your own brother.

 

Andy watches them go.

 

When he hears the door close, he goes to the phone and dials 911.

 

ANDY: I need the police ...

 

EXT. ANDY'S APARTMENT - DAY

 

Ray and Sandy come out.

 

SANDY: Now what?

 

RAY: We're going to a stockholders meeting. If there is one ...

 

EXT. CITY - STREET - DAY

 

The rental car is waiting at a stoplight. Ray is driving.

 

Green.

 

No sooner has Ray pulled through the intersection than a police car pulls behind him, lights flashing, siren blaring.

 

INT. RENTAL CAR - DAY

 

Ray looks in the rear-view mirror. A look of sudden panic.

 

SANDY: What's wrong?

 

RAY: Hang on.

 

He gives it the gun -- but has to slam on the brakes when a second police car darts around a corner, pulling in front of him.

 

And still another police car arrives. Trapped.

 

INT. POLICE STATION - INTERROGATION ROOM - DAY

 

Ray is being questioned by two detectives, Joe Johnson and Skip Yamhill, as before.

 

JOE: I've already heard that story.

 

RAY: And you'll keep hearing it because it's the truth. Tomorrow or the next day you'll see for yourself.

 

JOE: You're gonna turn white?

 

Ray nods. The detectives exchange an amused glance.

 

RAY: I told you to find a top executive at BeautiLine. They're all black now, too.

 

They can't believe this guy.

 

RAY: How can I have murdered myself when I'm going to turn white again?

 

SKIP: Book him for aggravated assault.

 

RAY: Of who?

 

JOE: Your wife.

 

RAY: What do you mean?

 

JOE: You know what I mean.

 

Ray is stunned.

 

RAY: I need to see a lawyer.

 

JOE: He'd better be damn good because we got you nailed on this one, pal. And we haven't forgotten the possibility of murder either.

 

EXT. POLICE STATION - NIGHT

 

Eunice, Sandy and a black man in a suit enter the station. This is WALLACE, 30s, a lawyer and Eunice's brother.

 

INT. POLICE STATION - VISITING AREA - NIGHT

 

Ray sits across a table from Sandy, Eunice and Wallace. A guard stands nearby.

 

WALLACE: Your wife was beat up pretty bad but she's going to be okay.

 

RAY: What happened?

 

Wallace looks at Eunice.

 

WALLACE: It may have been a lover's spat.

 

RAY: What are you telling me?

 

EUNICE: I think she's been having an affair.

 

RAY: I'm not surprised. With anybody I know?

 

No one replies.

 

WALLACE: I'd like to represent you, Mr. Bunning.

 

RAY: I'll have to think about it.

 

WALLACE: Are you hesitating because I'm black? Let me tell you why I think it can be an advantage to us.

 

RAY: I don't want to play the race card.

 

WALLACE: I don't think they'd have treated you the same if you were a black man turning white. It's just the way the world works, unfortunately.

 

RAY: I'll be white again soon. I'd better be.

 

WALLACE: Well, the offer will be there tomorrow, whatever color you are.

 

RAY: What about bail?

 

SANDY: I'm working on that tonight. It's the best I can do.

 

RAY: Someone find out if the reporter's following up on the stockholders meeting.

 

WALLACE: As your lawyer, I could do that.

 

RAY: OK, do it.

 

INT. RESTAURANT - BAR - NIGHT

 

Andy comes in, carrying a briefcase. He looks around. Finds who he is looking for. He sits down across from BAXTER YOST, 50s, and SAM FINN, 40s. Both wear conservative suits.

 

ANDY: Gentlemen.

 

YOST: Did you bring the specs?

 

ANDY: Of course.

 

He puts the briefcase on the table and opens it. A thick stack of documents.

 

ANDY: I trust you reciprocated.

 

Finn reaches under the table and brings out another briefcase.

 

FINN: It would be conspicuous to open it here.

 

ANDY: That it would. But just let me peek.

 

Finn positions the briefcase, flicks the snaps, and opens it slightly.

 

Andy leans across the table to see.

 

ANDY: Looks good if it's all there.

 

YOST: If I didn't know better, I'd take that as an insult.

 

ANDY: Sorry. So ... done deal.

 

YOST: Done deal.

 

They exchange briefcases.

 

FINN: You said you'd tip off WorldCo anonymously.

 

ANDY: I'm doing it right away.

 

YOST: You haven't done it yet?

 

ANDY: I didn't want to end up with the short end of the stick. I got it right here. No way they'll go through with the buyout once they read this. And BeautiLine's stock will crash big time.

 

He reaches in his jacket pocket and brings out a stamped, addressed envelope.

 

ANDY: And with me gone, BeautiLine's TGM program will be swinging in the wind. It might finally occur to them how valuable I was.

 

FINN: You sound very bitter.

 

ANDY: Just watching out for number one.

 

YOST: This letter will discourage WorldCo to continue?

 

ANDY: No way they'll go on once they read this. And with what I gave you, if you get in gear, GenaTek will be at the front of the pack.

 

He stands up.

 

ANDY: There's a mail box right outside. Morning pickup. I checked.

 

FINN: Isn't it reckless, putting your fingerprints all over that?

 

ANDY: Where I'm going, it won't matter.

 

YOST: In that case. I'll mail it for you.

 

Yost takes out a handkerchief, drapes it on his hand and reaches for the letter.

 

ANDY: You guys wouldn't trust your mother.

 

YOST: Better safe than sorry.

 

Andy gives him the letter.

 

ANDY: Nice doing business with you.

 

INT. POLICE STATION - CELL - NIGHT

 

A guard walks by Ray's cell, a routine check. In the cell with Ray is JOSEPH, about the same age, another black man. He is dozing.

 

The guard shines a flashlight into the cell, then moves on.

 

INT. ANDY'S APARTMENT - NIGHT

 

Andy carries two suitcases and the briefcase of money to the door. He looks around, a last minute check.

 

EXT. ANDY'S APARTMENT - NIGHT

 

Andy puts the luggage into the trunk of his car.

 

INT. HOWARD JOHNSON'S - FRONT DESK - NIGHT

 

Andy is checking in.

 

FRONT DESK CLERK: How long will you be staying, Mr. Smith?

 

ANDY: Just tonight.

 

FRONT DESK CLERK: Will this be on your credit card?

 

ANDY: No, I'll pay in cash.

 

INT. HOWARD JOHNSON'S - ROOM - NIGHT

 

The door opens and Andy comes in.

 

He puts the luggage on the bed, then plops down beside it. The briefcase of money rests on his stomach. Andy lets out a deep breath. Safe.

 

INT. POLICE STATION - CELL - NIGHT

 

A guard walks down the hallway to Ray's cell. It's dark, after lights out.

 

Joseph is asleep on his bunk. His back is to the guard. Ray sits on his bunk, thinking.

 

GUARD: Which of you is Joseph? You made bail.

 

Ray looks at Joseph, who doesn't hear. He turns to the guard.

 

RAY: It's about time.

 

GUARD: Come with me.

 

Ray stands up as the guard unlocks the cell.

 

INT. POLICE STATION - DRESSING AREA - NIGHT

 

The guard hands Ray some clothes.

 

GUARD: You can change in there.

 

INT. POLICE STATION - NIGHT

 

Ray waits near the front desk. Joseph's clothes are a little too large for him, and Ray tries to make himself inconspicuous.

 

An officer works on a computer, clearing "Joseph" for release.

 

RAY: May I use the rest room?

 

OFFICER: That way.

 

He gestures down a hallway.

 

INT. POLICE STATION - HALLWAY - NIGHT

 

Ray moves down the hallway. He stops at the men's room and sees an exit ahead of him. He looks around, then continues.

 

When he reaches the exit, he darts outside.

 

EXT. POLICE STATION - NIGHT

 

Ray comes out the side exit of the building. He starts running.

 

EXT. STREET - NIGHT

 

Ray stops and catches his breath. He looks around. Now what?

 

INT. HOSPITAL - FRONT DESK - NIGHT

 

Ray speaks with a CLERK.

 

CLERK: Sir, visiting hours ended several hours ago.

 

RAY: But I haven't had a chance to see my wife yet.

 

The clerk doesn't respond.

 

RAY: Please. I only want to look in on her.

 

CLERK: Just a minute.

 

She punches a number. Ray moves away, pacing.

 

CLERK: A nurse will meet you on the third floor.

 

RAY: Thank you.

 

EXT HOSPITAL - THIRD FLOOR - NIGHT

 

The elevator doors opens. Ray steps out and faces a NURSE.

 

NURSE: Mr. Bunning?

 

RAY: How is my wife?

 

NURSE: She's sleeping. I'll let you peek in on her. But please don't wake her.

 

INT. HOSPITAL - ROOM - NIGHT

 

Ray looks down at his wife in bed. She has a black eye and a bruised lip.

 

He just stares at her.

 

EXT. ANDY'S APARTMENT - NIGHT

 

Ray buzzes for Andy. And again. No reply.

 

EXT. CITY - STREET - NIGHT

 

Ray stands in a phone booth.

 

INT. ANDY'S APARTMENT - NIGHT

 

Andy's phone rings in the empty apartment. And rings. And rings.

 

EXT. CITY - STREET - NIGHT

 

Ray hangs up.

 

INT. EUNICE'S HOME - NIGHT

 

Eunice opens the door to find Ray. They spontaneously embrace.

 

INT. EUNICE'S HOME - EUNICE'S BEDROOM - NIGHT

 

Ray and Eunice make love. This is their first time, and they are passionate in mutual discovery.

 

INT. EUNICE'S HOME - EUNICE'S BEDROOM - NIGHT - LATER

 

They cuddle after lovemaking.

 

RAY: I couldn't just sit in my cell waiting for something to happen.

 

EUNICE: I know.

 

INT. EUNICE'S HOME - EUNICE'S BEDROOM - DAY

 

Ray and Eunice are in bed. Ray's back is to us. Eunice wakes first. She cuddles against Ray, kissing him. Ray stirs and turns -- and he is WHITE.

 

Eunice jumps and sits up.

 

RAY: What's the matter?

 

EUNICE: Look at yourself in the mirror.

 

Ray slides out of bed and walks to the dresser. He sees himself - white! He touches his face, as if making sure it's real.

 

RAY: Finally.

 

He turns to Eunice -- but she looks sad, as if she's just lost a lover.

 

INT. EUNICE'S HOME - KITCHEN - DAY

 

Ray finishes his coffee.

 

EUNICE: Don't you think you should call Wallace?

 

RAY: Not yet.

 

EUNICE: He's your lawyer, you have to trust him.

 

RAY: I have to do a couple things first.

 

He kisses her. He notices a change of expression on her.

 

RAY: What is it?

 

EUNICE: I never kissed a white man before.

 

RAY: Maybe you'd better get used to it.

 

EUNICE: Let's not talk about it now. You be careful out there.

 

Ray leans forward to kiss her again but she turns her head, offering her cheek.

 

RAY: I'll call you later.

 

INT. HOSPITAL - ROOM - DAY

 

Ray sits in a chair beside the bed.

 

JANET: I was drunk. I shoved him, and he shoved back. The kitchen chair did the rest.

 

RAY: You defend him even now.

 

JANET: I love him. I'm sorry.

 

RAY: Janet, this is important -- do you know where he is?

 

JANET: Going without me.

 

RAY: Going where?

 

JANET: Does it matter?

 

RAY: It does to me. The black man who came to your door while you were having dinner with Harriet? That was me. Andy did that to me.

 

Janet studies him.

 

JANET: You didn't steal any money, did you?

 

RAY: Of course not.

 

JANET: I defended you. That's when he hit the roof.

 

RAY: What do you know, Janet?

 

JANET: Not the details. He made some kind of deal with some other company. He felt cheated for not being recognized for all his research. He made enough money to skip the country.

 

RAY: Alone?

 

JANET: He wanted me to meet him in Jamaica. I didn't understand why we couldn't stay here. That's when he told me the police would be after him. I told him he'd ruined everything for us, and it escalated from there.

 

RAY: Janet, if hasn't left the country yet, if he were going to stay in town but not at his apartment, where would he go?

 

She shrugs.

 

RAY: Where did you two go together?

 

JANET: What are you going to do to him?

 

RAY: I'm trying to keep myself out of jail.

 

She thinks a moment.

 

JANET: The Howard Johnson's on the east side.

 

RAY: Thanks.

 

Ray gets up and goes to the door.

 

JANET: Ray?

 

He stops and turns.

 

JANET: Nothing.

 

RAY: We gave it our best shot.

 

JANET: Did we?

 

RAY: We were both on the rebound. We really don't have much in common.

 

JANET: How true.

 

RAY: I hope we can remain friends.

 

JANET: Is that possible?

 

RAY: I hope so, Janet.

 

He walks out. Tears swell in her eyes.

 

EXT. STREET - PHONE BOOTH - DAY

 

A cab waits at the curb. Ray is in a phone booth.

 

RAY: Could you tell me when the next flight leaves for Jamaica? ... Thanks.

 

He hangs up and looks at his watch. Relief.

 

EXT. HOTEL - DAY

 

The cab pulls up. Ray slides out. He bounds up the steps to the hotel.

 

INT. HOTEL - LOBBY - DAY

 

He moves through the lobby to the desk. He asks a question, gets his answer, and moves on.

 

INT. HOTEL - MEETING ROOM - DAY

 

BeautiLine's execs, still black, are meeting.

 

HOWARD: It looks bad if we cancel. They'll think we're hiding something.

 

JAMES: I think he's right.

 

CUNNINGHAM: I don't know. I'm trying to put myself in the place of the buyer. Or of a stockholder.

 

Ray comes into the room.

 

HOWARD: You're white again.

 

CUNNINGHAM: You know him?

 

HOWARD: Ray Bunning. He's one of our account execs. He's also the one who did this to us.

 

RAY: Only repeating the favor.

 

HOWARD: We didn't turn you black, Ray.

 

RAY: Then who did?

 

No one replies.

 

RAY: Where's Andy?

 

CUNNINGHAM: How long does it take this to wear off? We have a room full of stockholders waiting for us.

 

RAY: Several days. Where's Andy?

 

CUNNINGHAM: Then how in hell are we going to go out there now?

 

No one knows.

 

RAY: I have a question. This all started because Andy came to you, right?

 

HOWARD: You left a document and your business card in the copy machine.

 

RAY: I didn't do that. Andy set me up.

 

HOWARD: We know.

 

RAY: You do?

 

HOWARD: He forged the tests that you copied, Ray. We've been following him ever since this started.

 

CUNNINGHAM: What are you talking about here? Why the hell wasn't I informed about this?

 

HOWARD: I didn't want to trouble you, sir. It's a departmental matter, and discipline is being taken.

 

CUNNINGHAM: I expect a full report.

 

HOWARD: Of course, sir.

 

RAY: Are you telling me VitaTan is safe? And he screwed both of us?

 

HOWARD: Yes and no. He sold specs to GenaTek --but we beat him at his own game. We switched specs in the files, and what they have is what we prepared for them. By the time they figure it out, the market will have shut them out.

 

CUNNINGHAM: Gentlemen, we have stockholders out there. I'm still waiting for an idea.

 

No reply. Then:

 

RAY: This is crazy enough it might work.

 

CUNNINGHAM: What is it?

 

RAY: In the best tradition of business, I have to ask -- what's in it for me?

 

CUNNINGHAM: What do you want?

 

INT. HOTEL - AUDITORIUM - DAY

 

The stockholders' meeting has begun.

 

Ray stands in back, looking over the crowd. He finds Mary. There's an empty seat next to her.

 

Ray sits down beside Mary. They exchange a glance. She doesn't recognize him.

 

He offers his hand.

 

RAY: Ray Bunning. Nice to see you again.

 

Mary studies him.

 

MARY: Jesus.

 

RAY: Just about as miraculous.

 

Somebody nearby shushes them. Ray gestures, follow me.

 

They move to the back of the auditorium.

 

MARY: I've been reading about VitaTan. You got an over-dose, didn't you?

 

RAY: Exactly.

 

A gasp rises from the crowd, getting Ray and Mary's attention.

 

Coming on stage are Howard, Cunningham, Jones and the rest of the executive board. All of them are black.

 

MARY: I don't believe this.

 

RAY: It gets better.

 

Howard steps to the podium.

 

HOWARD: Meet the first volunteers of VitaTan, who have proved beyond a doubt that Temporary Genetic Manipulation is as safe as taking aspirin.

 

Wild cheers and applause.

 

HOWARD: This, however, is not how the product works. We all took an overdose to dramatize the effect. The consumer will be given the choice for slight, medium, and heavy cosmetic tans, all of which are considerably less brown than we are up here today. I mean, look at us! We should start a basketball team.

 

Cheers and laughter.

 

RAY: Racist asshole. Give me a call later.

 

He starts away.

 

MARY: (after him) I'll be in touch!

 

She stays, taking notes.

 

EXT. HOWARD JOHNSON'S - DAY

 

Ray faces Andy's car, which is parked in front of a room.

 

INT. HOWARD JOHNSON'S - DAY

 

Andy closes a suitcase. He's ready to go.

 

A knock at the door. Andy starts, not expecting anyone. Another knock.

 

ANDY: Who is it?

 

RAY: (disguising voice) Message for Mr. Bunning!

 

Puzzled, Andy steps to the door and opens it. Ray swings and lands a fist on Andy's chin. Andy is driven backward and falls onto the bed. Ray holds his hand in pain. Andy gets to his feet.

 

ANDY: Feel better?

 

RAY: You set me up.

 

ANDY: You talked to Janet, didn't you?

 

RAY: You put her in the hospital.

 

ANDY: I'm sorry about that.

 

RAY: I bet you are. So why me?

 

ANDY: Because you're the only goody-goody I know who would be stupid enough to take them on. It was a perfect diversion.

 

RAY: You sold the specs to somebody.

 

ANDY: I'm not telling you what I did or didn't do, Ray. And I have a plane to catch.

 

RAY: You're one hell of a brother.

 

ANDY: Half-brother. And your father, not mine, treated me like a second-class citizen. Which is a little better than he treated my mother.

 

RAY: He paid for your college.

 

ANDY: Yes, he did do that. When in doubt, throw around money. Now if you'll excuse me.

 

He picks up the two suitcases and briefcase and heads for the door.

 

ANDY: Cheer up. This actually is turning out almost the way you wanted. You should thank me.

 

RAY: When did you get so goddamn smug?

 

ANDY: I learned it from your father.

 

RAY: He did the best he could.

 

ANDY: With you, sure. I was just this kid who came with the woman he wanted to push around.

 

RAY: I never realized how much you hated him.

 

ANDY: That's because you know nothing about me, Ray. Not really. You never took the time to find out who I was.

 

RAY: I guess I know now, don't I? Better late than never.

 

ANDY: Whatever you say, Ray.

 

He steps out of the apartment.

 

RAY: Bon voyage.

 

INT. AIRPORT - CHECK-IN - DAY

 

Andy enters the check-in area and gets in line. Across the lobby, Ray and Howard watch. Howard is still black.

 

Two plain-clothes policeman approach Andy. They show him identification. One twists his arms behind his back and puts on handcuffs.

 

They lead him away, as startled passengers watch.

 

HOWARD: I told you it would be easy. Buy you a drink?

 

RAY: I have someone to see.

 

HOWARD: I hope you change your mind about leaving us. You're a good advertising man. Making black work for us was a brainstorm.

 

RAY: I'm a born teacher, Mr. Jennings, and never should have left it.

 

HOWARD: Good luck to you then.

 

RAY: I'll feel so damn good about myself again, I won't need any luck.

 

EXT. BUNNING HOME - FRONT PORCH - DAY

 

Eunice answers the door to find Ray.

 

RAY: I was wondering if you were free for dinner.

 

EUNICE: Is everything all right?

 

RAY: Everything is perfect. I quit my job.

 

EUNICE: I've been thinking of doing the same thing. Time for a change.

 

RAY: I'm going back to teaching.

 

EUNICE: Wonderful, if it's what you want. But my word, that must be quite a pay cut.

 

RAY: The company generously compensated me for saving their collective corporate butts. If I don't find a job, I'll buy my own school.

 

EUNICE: Justice is sweet, even when it's late.

 

RAY: You know, the last time you answered the door to find me, you couldn't get in my arms fast enough. Of course, I was black then.

 

EUNICE: I'm thinking maybe we should go slow here.

 

RAY: Slow is good. ... I said, slow is good.

 

He holds open his arms, inviting her to come into them. Eunice smiles and steps forward.

 

They embrace. And kiss. Suddenly Eunice pushes Ray away.

 

EUNICE: What about your wife?

 

RAY: She's going to be fine. Probably be home in a few days.

 

EUNICE: That's what I mean. I want you -- but not here. This is where you were with her.

 

RAY: You're right. Get your coat.

 

EUNICE: I won't be a minute.

 

Eunice retreats inside. Ray stands on the porch. He looks around the neighborhood, as if saying goodbye to it. Eunice reappears.

 

EUNICE: What do you have in mind?

 

RAY: You have your mother at home. A hotel. Something fancy, to celebrate.

 

EUNICE: And then?

 

RAY: Slow. As in slow dancing.

 

EUNICE: I like the sound of that.

 

Ray closes the door and locks it. They come down the steps together, hand in hand, and start down the street.

 

FADE OUT