Any playwright worth his salt has scads of letters from theatres telling him "Thank you but no." Theatres never tell you why. No surprise there. Even when they say yes, they never say why. It's easy to hate them.
There's a little voice deep within me whispering, "The reason they never say why is they haven't a clue. And what is worse, they know they haven't a clue and they're too chickenshit to stand up and admit it." I smile. I nod. The little voice is suddenly my friend, telling me what I want to hear.
As for those theatre bastards, I imagine them writing "yes" and "no" and "perhaps" on a stairway and tossing the scripts in the air with maniacal glee. Yes, that's it. I spend months doing what I do and they spend minutes, nay seconds, doing what they do. Whatever. Bottom line is, the nice ones promise to keep your manuscript on file. The asswipes don't tell you shit. And the asswipes always outnumber the nice ones.
I belong to an Internet Group called Playwrightbinge. It's a good group. It encompasses writers at every level of experience. We have writers there who've scripted 30 or 40 plays and have had hundreds of productions and have seen it all. We have writers who are just starting out and joined the binge to get advice and encouragement.
But regardless of where you are professionally, one thing EVERYONE discusses is turndowns. As in, "I just got a turndown from so-and-so." No matter who you are, you never get used to it.
The number of turndowns is increasing. Because the number of opportunities out there are decreasing. Just do the math and you'll see. It's a bad time to be a playwright. It's also a bad time to be a theatre. Theatres are closing. And those that aren't closing are experiencing tighter budgets. Add to that the fact that audiences are getting older and dying off. And those not busy dying off aren't spending much time reading plays. No one reads anymore. No one cares.
Back in the day, a playwright was an honored person. Everyone knew who the great playwrights were. My great-grandfather, Hans Christian Andersen, was a playwright as well as a storyteller and he was famous all over the world. But now, it's different. You might be the greatest playwright in the USA and no one will know who you are. Or care. Case in point. Israel Horovitz spoke at the Long Beach Playhouse in 2001 and only twenty people showed up. In 2005, Noah Haidle spoke to a gathering in Orange County. A gathering of four people. I could go on but what's the point?
Nevertheless, regardless of the times, you keep your turndowns. They're your whip lashes. Your prison chains. Your gulag. Your proof that you do what you say you do.
*************************************
So what does a turndown look like? What does a turndown say? Let's take five at random.
Here's one that says, you were all sooo good and it was really, really hard to choose...
This one says, so many worthy plays, so few slots...
Here's one that says, we were intrigued (I've come to hate that word), but we'll pass....
Here's my favorite. This one says my play came in second or third or fourth behind a play about a jarhead in tights. Don't ask...
Last but far from least is the turndown I received from the theatre where I religiously went each week for playwrighting classes and when I submitted something, they treated me like a stepchild to the point of misspelling my name. You'd think, after five years of having my stuff read on the SCR Nicholas Stage, I'd at least get a "Way to try, Dale" letter, but no. The asswipes...
*******************************
There was a Seinfeld episode where Jerry goes to a heckler's jobsite and boos her at her desk so she'd know how it felt. It was a cool concept. How about turning the tables on a theatre that sends you a turndown letter? Guess what? I did it.
I received a turndown from Stageworks Hudson for the play, "The Bridge at No Gun Ri." The Literary Manager said the work was "intense" and "intriguing" but not quite the right fit for them. Okay. Only one minor issue. Hardly worth mentioning. I did not write "The Bridge at No Gun Ri."
The Miyakes aren't our right-now neighbors. They were our neighbors when I was born, sixty-five years ago. By "our," I mean the Andersens.
So before I talk about the Miyakes (pronounced Mee-YAH-key), I better say something about the Andersens.
The Andersens were Danish farmers in California's Central Valley. Vineyards. Family farms. Grapes of Wrath. Where I grew up, there were a lot of Danes. A huge amount of Danes. A whole gaggle of Danes. And---trust me, this is going somewhere---in our family, there was always the story of Papa. Papa, Hans Peter Andersen, was my grandfather. He died at age 92. Blind for half his life. Came to America at age 17. Ellis Island, then on to Wisconsin, North Dakota and California. Now bear in mind Papa was an orphan. And orphan back then was a euphemism for having been born out of wedlock. And that was true of Papa. But Papa was a very special orphan. In fact, he was about as special as you can get and still be an orphan. For the family oral history has it that Papa's father was none other than the great Hans Christian himself. The mother, a lady of the Portuguese persuasion. Probably a groupie.
Hans Christian Andersen was, in his day, famous for his novels and travelogues and fairy tales. And he certainly did travel to Portugal and write wittily of his stay there. Alas, nothing about making the two-backed beastie with the fair Teresa......or was it Carmen......Rossetta maybe? Ah well. As the Johnny Cash song has it, I'll Never Forget What's Her Name.
So that's where Papa came from.
He named his first-born after the great writer, even though the great writer wasn't "great" enough to acknowledge him.
And that is how my my dad came to be called Hans Christian Andersen. Except, my dad was Hans Christian Andersen the farmer.
Which brings us to the Miyakes. They lived the next vineyard over on the corner of Cherry and Adams. It was a big family.
There was old Mister Miyake.
There was his wife, Umeyo, and their boys, Shigeto, Masato, Tsumoru, Kiyomi and Tadao. There was a daughter named Kimiko.
1941 happened and they were sent to a camp in Arkansas. There wasn't much time to get ready to leave. It was "Hans, will you take care of our place?" and "Of course I will."
I was born in the Miyake house. Here I am in my crib.
The Miyakes were in Arkansas from 1942 to 1945. The camp there was set out in numbered blocks. The Miyakes lived in Block 26. The Miyake boys joined the army. Here's the Block 26 list of volunteers:
In 1945, Mom and Dad got a letter from Kimiko. Mom saved it. Here it is...
As I grew up, the Miyakes were always nice to me. And they always told me what a fine man Hans Christian Andersen was. I didn't understand then what they meant. But I do now.
Past Page 25, continuing with the MELEK RIK screenplay, in which our heroes, Maddie and Kenny, have crossed over into the opposite world and have established residence there...
EXT. A SATELLITE IN ORBIT LOOKING DOWN ON THE NORTHERN ROCKIES - DAY
The Satellite is far away, barely visible, coming toward us.
SUPER: “TEN YEARS HAVE COME AND GONE. IT'S 2029. THAT'S IDAHO BELOW US. BOUNDARY COUNTY, IDAHO. A PLACE MELEK RIK HAS NEVER VISITED. BUT WHEN HE WAS TEN, HIS PARENTS TOOK HIM TO COEUR D'ALENE JUST TO THE SOUTH ON A VACATION...”
The Satellite closes on us.
SATELLITE TRANSMISSION
........................... God is great. I bear witness to ........................... no god but God...
The Satellite zips past and vanishes. Distant sound of Maria bearing a baby.
EXT. A NARROW MOUNTAIN ROAD - DAY
Sound of Maria having her baby. She’s closer now.
A battered school BUS parked on the shoulder in front of a weathered horseshoe-shaped twenty-unit MOTEL. What was once the swimming pool is now a garbage pit. Weeds have taken over most of the grounds. Ten CHILDREN, ages two to ten, play noisily in a grassy area. We see a swing, a sandbox, a tire hanging from a tree limb.
We hear the cry of a newborn.
INT. MARIA’S ROOM IN THE MOTEL - DAY
TAMMY
........................... Just beautiful.
Little Maria curled up on a bit of cloth in a corner. She gets up. We see she’s missing a leg and has only part of her tail. Maria in bed holding her newborn. Standing next to the bed, looking down at her and smiling, TAMMY, 32, and WENDY, 31. Maddie stands by the door. She doesn’t smile.
WENDY
........................... Came out so easy. You have a gift, Ria. ........................... Doesn’t she have a gift, Maddie?
MADELINE
........................... Yes. Yes, she does.
Maddie turns and walks out.
EXT. THE MOTEL - DAY
The screen door opens. We see Maddie on the stoop.
MADELINE
........................... Jonah!
A ten-year-old BOY stops playing, looks up. Maddie at the top of her voice. It’s an always-in-a-bad-mood, don’t-piss-me-off-anymore-than-I-already-am voice
MADELINE
........................... Go tell your father Aunt Ria had a baby boy! ........................... Get going!
The Children cheer. The Girls start playing mommy games. Jonah dashes off down a path past a very large GARDEN and what looks like a STILL.
INT. A TAVERN - DAY
Kenny, the center of attention, sits at a table with seven MIDDLE-AGED MEN. PREACHER, carrying two beers, approaches.
PREACHER
.............................Here, Kenny. On me. You earned it.
.............................C’mon, boy. Loosen up. Jesus himself was .............................known to tip one now and then.
BILLY
.............................I hear that, Preach. Jesus knew how .............................to party.
PREACHER
.............................Careful, Billy. Don’t go crossin’ no lines. .............................Bottle’s here just in case you change .............................your mind, Kenny.
KENNY
.............................Gonna sit here and watch you all. .............................Got myself a nice little streak going. .............................When you got a streak, rule is .............................don’t change things.
PREACHER
.............................Hear that, boys? Kenny says he’s .............................got a streak.
KENNY
.............................Not just saying. Proof’s in the pudding. .............................Five live births in a row? Bang bang .............................bang bang bang. Read ‘em and weep.
PREACHER
.............................I can attest to the count. I baptized .............................‘em all.
KENNY
.............................I attribute it to prayer. And no .............................tobacco and no alcohol.
SKI (Points to MORRIS)
.............................Careful on that last part, Kenny. .............................Morris might grab you by the hair .............................and throw you out for .............................hurtin’ business.
Morris points to a photo on the wall of Kenny as a San Francisco Giant.
MORRIS
.............................I heard that, Ski. Kenny can say .............................anything he wants in here.
Jimbo drains his cup. He’s visibly three sheets to the wind. Morris frowns, but refills him.
JIMBO
.............................Thinkin’ on this streak of yours.
KENNY (A slightly crude gesture)
.............................What’s to think?
Everyone laughs.
JIMBO
.............................Just reachin’ out for a little clarification. .............................Streak is where you run the table. Streak .............................is where you hit the target every time, right? .............................I’m wondering, are you counting Maddie .............................in this streak of yours?
KENNY
.............................What’s your point, Jimbo?
JIMBO (Belches)
.............................Well, Tammy’s producing. So’s Wendy. .............................So’s Ria. No doubt on that. We seen the .............................progeny. Can’t help but notice Maddie’s .............................been on the quiet side.
IKE
.............................It’s a point for sure. She has - -
JIMBO
.............................So I got to be thinkin’ either you’re settin’ .............................her aside. Like with acreage that .............................lies fallow? Or.
Ike laughs. Kenny stops him with a look.
PREACHER
.............................Maybe it’s time to change the damn’ .............................subject, Jimbo. We’re here to be with .............................Kenny on this day of - -
JIMBO
.............................Not tryin’ to start a fuss. Just wondering .............................what the rules are. Either it’s a streak .............................or it’s - -
Morris suddenly stands behind Jimbo’s chair. He grabs Jimbo by the hair. Jimbo yells in pain and surprise as Morris jerks him to the door and tosses him out.
MORRIS
.............................Gettin’ to be a full-time chore keepin’ the .............................lice and cockroaches out.
Kenny reaches out for the bottle.
KENNY
.............................Think I will.
PREACHER
.............................That’s my boy. Now how about let’s all .............................just keep things peaceful and tranquil. .............................Is that too much to ask?
The Preacher points to the mud on the knees of his jeans.
PREACHER
.............................Had a premonition about today. Doesn’t .............................say anywhere God sleeps, says he rested .............................once, but in the event He was asleep, I .............................woke Him up. He knows about Ria, Kenny. .............................Not ashamed to say I was on my knees .............................in the corral muck pleadin’ her case.
KENNY
.............................I’m grateful.
PREACHER
.............................Just doing my job. Now drink up.
He draws close, whispers.
PREACHER
.............................And don’t fret about Sister Madeline. She’ll .............................come around in her own time. Sara was .............................barren into her eighties.
EXT. ON THE PATH SOMEWHERE - DAY
Jimbo staggers drunkenly along the path, mumbling and cussing to himself. Jonah waits behind a tree until he passes. Then he continues on his way.
INT. RUFUS’ OFFICE - DAY
A massive ornate office that literally screams governmental power. A large formal portrait of Bolivar up high in the most prominent spot. An inscription under the portrait.
INSERT: The Inscription
“IN THIS HOUSE, BOLIVAR IS BOSS”
BACK TO SCENE
Rufus and a SENIOR FBI OFFICIAL watch as a playback device runs a video of a convenience store robbery. We see five grainy figures with weapons drawn.
RUFUS
.............................Stop it there.
The FBI Official freezes it.
RUFUS
.............................Blow it up.
He zooms in. Rufus walks up and studies a six-foot image of Maddie’s face. She has an expression of crazed anger. A long silence.
RUFUS
.............................Where did you get this?
FBI OFFICIAL
.............................A bank in Nebraska foreclosed on a strip mall. .............................This was on a hard drive.
RUFUS
.............................Were these five ever caught?
FBI OFFICIAL
.............................There were a number of such unsolved .............................robberies about then. It was a chaotic .............................time, sir.
Rufus glances at a large photo on another wall.
INSERT: The Photo
Kevin and Rufus, in sartorial splendor, seated in an antique auto, tipping their hats to the camera.
BACK TO SCENE
RUFUS
.............................Yes, it was.
The FBI Official zooms the video out, unfreezes it. We see Maddie swing her bat at a shelf of bottles, smashing them.
INT. THE TAVERN - DAY
The Preacher and Kenny sit. Kenny’s on his third beer. Morris stands at the bar.
KENNY
.............................There was me. And Ria. And Kid and Whit. .............................Maddie was there, too. Poor Kid could hardly .............................stand. We taped a wood splint under his pant .............................leg, told him to prop himself against a wall .............................and point the gun.
PREACHER
.............................I’m surprised. Kid and Whit in an outlaw gang. .............................Never thought they had the balls.
KENNY
.............................They don’t. Maddie had their number.
The Preacher looks surprised.
PREACHER
.............................She was sleepin’ with ‘em?
Kenny laughs so hard he gets beer up his nose.
KENNY
.............................Sleepin’ with them? Hell no! They were scared .............................to death of her. Didn’t want her anywhere near .............................them. Didn’t want her using that bat on them.
Kenny belches. He suddenly gets maudlin.
KENNY
.............................Not proud of having been an outlaw. Wish .............................I could give the money back.
.............................Didn’t take advantage of the women?
KENNY
.............................No.
PREACHER
.............................Remember David was a bandit. He robbed .............................and extorted and sold protection. And God .............................loved him. Money and goods are the Devil’s .............................gift. Life and the soul are the Father’s gift. .............................The damage you do to those is the hardest .............................thing to forgive. Everything else is .............................negotiable.
The Preacher starts to whisper a prayer. Kenny stops him.
KENNY
.............................Wait. One more thing. I got a son.
PREACHER
.............................He got a name?
KENNY
.............................Alan.
EXT. A CORRAL - DAY
Alan, 20, in an army uniform, astride an Arabian horse. A single gold bar on his collar.
KENNY (O.S.)
.............................Never claimed him as my own.
PREACHER (O.S.)
.............................Shame on you, Kenny Wetzel. Shame on you.
KENNY (O.S.)
.............................Yes, shame on me.
Galmiche and a GENERAL stand outside the corral fence, watching.
GENERAL
.............................His name, sir, is Wetzel.
GALMICHE
.............................Call him.
The General waves. Alan walks the horse to the corral fence.
GALMICHE
.............................They tell me your name's Wetzel.
ALAN (Salutes from horseback)
.............................Lieutenant Alan Wetzel. At your service, sir.
MELEK RIK Screenplay, the first twenty-five pages, in which Madeline and Kenny leave their world of power and privilege and set out on a journey in which they relearn the hard lessons the present world has discarded....
FADE IN
INT. LARGE GLASSED-IN VIEWING AREA - NIGHT
SUPER: "CENTRE SPATIALE, FRENCH GUIANA. The year is 2019"
A GIANT ROCKET blasts off. We see the sharp, chiseled face of General Richard BOLIVAR, 48. He wears the robe and headdress of an Arab Prince.
BOLIVAR
(A sweet East Texas twang)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Amazing. No other word for it.
EXT. SATELLITE IN ORBIT OVER WASHINGTON, D C - NIGHT
SATELLITE TRANSMISSION (In Arabic)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,God is great. I bear witness to no god ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,but God. I bear witness to...
INT. HENRYS OFFICE IN THE WEST WING - NIGHT
MADELINE SLEZAK, 22, stands in a shimmering evening gown.
HENRY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Just typical. Typical of you.
She walks to a wall covered with memorabilia: photos, mitts, jerseys, a Willy Mays bat, a baseball # 760 by Barry Bonds.
HENRY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You do good, then you do bad.
A huge full-color poster: SAN FRANCISCO GIANTS - 2011 WESTERN DIVISION CHAMPS. She focuses on a picture. A grinning 27 year-old pitcher in a classic stretch pose.
HENRY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You want me to listen? Sure. No, I ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,won't interrupt. I promise I won't.
She plants, tosses a ball up, swings, nice smooth cut. The ball sails through an open window. Her fingernail flashes.
She turns to see HENRY SLEZAK, 62, in tux and tails.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Don't say you got a phone implant.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Salesman said, if I'm buried in ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,rubble, they can find me, even if ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,it's switched off.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Good selling point. Quakes in DC.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That was Jeremy?
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Made a girl pregnant. Never thinks. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Never plans. We planned. Didn't we?
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Yes. Yes, we did.
He offers his arm. They walk as if in a fashion show.
EXT. THE ROSE GARDEN RECEPTION - NIGHT
Tuxedoes, gowns, a SWING BAND. KENNY WETZEL, 35, an older version of the poster boy, strolls at edge of Crowd. Bolivar, chestful of medals, huddled with RUFUS MEADOWS, 35, and GEORGE GALMICHE, 55. Henry and Maddie enter, arm in arm.
LIVERIED DOORMAN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Henry and Madeline Slezak!
The PRESIDENT, 55, big smiler, rushes up, two AIDES with him.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Henry! And Maddie.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Mister President.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Mister President?!? You haven't ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,got your bride trained yet.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Doing my best, sir.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,She's probably too smart for you. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Maddie, repeat after me. Danny.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Danny.
ANOTHER PART OF THE ROSE GARDEN - NIGHT
Galmiche comes up behind Kenny, gathers him in a bear hug.
GALMICHE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,We're pulling for you, Kenny.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,George. Call me George.
STILL ANOTHER PART OF THE ROSE GARDEN - NIGHT
The President & Henry watch a handsome OLDER MAN dancing with MIMI, 59. Mimi is Henry's ex. Henry is pissed.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What's that SOB even doing here?
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Looks like he's dancing with your ex. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What's the matter? Want her back?
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Fuck, no! It just looks so tacky.
The President beckons CIA MAN, 36. The CIA Man approaches.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Ben says Iraq launched a satellite.
CIA MAN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Comsat, sir. Encrypted real time ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,voice comm for secure trans - -
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Last year General Bolivar looked me ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,in the eye, told me Iraq would rely ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,on us for its satellite needs. Thanks, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Ben. You can leave.
He eyes Bolivar, Galmiche and Rufus.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What's up with our guy in Iraq?
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Maybe he's not our guy anymore.
Brief look of fear in the President's eyes. They watch Mimi.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Helluva job you did on the campaign. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm grateful. Anything you want?
Henry nods toward Kenny.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Kenny could use some help.
A TABLE NEAR THE DANCERS - NIGHT
Maddie, the center of attention, sits with seven WASHINGTON MATRONS. Mimi, champagne flute in hand, approaches.
MIMI
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Well, look here! Cinderella and her ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,seven Fairy Godmothers! I pity ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,her, pity the trophy wife.
AN AIDE appears, clears his throat. She drops her flute. It smashes on the floor.
MIMI
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Let them clean it, Snow White. God ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,forbid you cut your finger.
Kenny walks past. Kenny and Maddie lock eyes, then look away.
INT. MADELINE'S CAR - DAY
Maddie drives, following Kenny's car. The radio is on.
KENNY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,No question. But he's gotta learn ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,to keep it inside to pull hitters.
INT. KENNYS CAR - DAY
SPORTS TALK SHOW HOST 1 (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Kenny Wetzel, former Giant with us. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Kenny, gotta ask, you always said ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,you got a raw deal, what about the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,rumor you might be reinstated?
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,When I know something, you'll know - -
SPORTS TALK SHOW HOST 2 (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Course it's not connected to your ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,working for Henry Slezak.
EXT. BATTING CAGES - NIGHT
TIGERS BATTING CAGES A neon tiger sign. Kenny and Maddie hit liners. WHUMP! Madeline on one knee, hand on her breast.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Not supposed to crowd the plate.
MADELINE (Through gritted teeth)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I wasn't.
Kenny goes back to hitting. A crash. He turns and freaks. Maddie pounds the pitching machine with her bat. Kenny rushes in.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,The hell you doing?
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Assholes! Plunking me on the tit. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Think that's an accident?
Kenny suddenly gets serious, looks toward the Park office.
Two TEEN-AGE BOYS laughing. Suddenly, Kennys behind them. Kenny brings his bat down on a desk, splintering it.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You lads best go apologize. Now.
INT. KENNYS BEDROOM - NIGHT
SF Giants memorabilia cover the walls. Maddie, her top off, a big black and blue mark. She looks at herself in the mirror.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm thinking. When I'm reinstated, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I want you to come with me.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Come with you? To San Francisco?
Kenny nods.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,God, Kenny. Leave Henry. Suddenly, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,this is going to a whole new level.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Not right away. I mean, you just ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,married him. I mean wait until - -
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You have to understand. With ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Henry, important people talk to me. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Danny Prophet calls me Maddie.
She gingerly puts her top on. It's painful.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You naive? You're there for looks. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You're an old man's arm candy.
Maddie lashes out, slaps him. Her nails cut.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm not a trophy wife! People ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,smarter than you say I'm smart.
She walks away. She stops, turns.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You got no right to talk. Didn't ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,they call you Cheatzel Wetzel?
She slams the door on the way out.
INT. A DENNY'S-TYPE RESTAURANT - DAY
DONNA, 32, and ALAN, 9. Alan looks like Kenny. Kenny enters.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Don't have a lot of time.
DONNA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Good to see you, Kenny.
ALAN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Can I touch your $50 million arm?
DONNA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I told him about the Giants putting ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,the insurance policy on your arm. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,He tells everyone his dad - -
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Whoa whoa! His dad? His dad?
DONNA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,It's just at school, Kenny.
Kenny throws a twenty on the table, gets up and storms out. Tears in Donna's eyes. Alan looks up at her, confused.
EXT. LAFAYETTE PARK, ACROSS STREET FROM WHITE HOUSE - DAY
PROTESTORS wave signs, OUT OF IRAQ NOW!
INT. THE CABINET ROOM, THE WEST WING - DAY
The 15 CABINET MEMBERS wait. We see Galmiche there.
INT. THE HALLWAY OUTSIDE THE CABINET ROOM DOOR - DAY
KEVIN HURT, 35, powerful upper body, in a wheelchair. Sound of footsteps. The President walks towards the double door. Behind him, Henry and Kenny. They walk around Kevin like he's not there. They get to the door. The President stops.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm thinking. Maybe we better not.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Danny, let's do it. Go for it. Now.
A brief look of fear, indecision in his eyes. Then.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Polls look real good. We're gonna ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,win big. No question.
They applaud. The President raises his hand for silence.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,...About second terms. Historians ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,say second terms are dead ends. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Suddenly you're a lame duck and.
He looks straight at Galmiche. Galmiche looks away.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Everyone's thinking next time. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That's not happening. Not with me.
The President turns, walks out. The door clicks shut.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Didn't you people hear him?!? The ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,President wants your resignations!
INT. A MEDIA ROOM SOMEWHERE IN THE WEST WING - DAY
Closed circuit TV broadcast. The President watches as Cabinet Members sign Letters of Resignation and hand them to Kenny.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Henry, you fucking genius, you!
INT. KENNY ON THE PHONE IN HIS OFFICE - DAY
MADELINE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,...Trying to be a good wife. But ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,with you, I feel dirty. No offense.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Fuck you then.
INT. SOMEWHERE IN THE WHITE HOUSE - DAY
The President at a pinball machine, Henry at his side.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You work too hard. When you get ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,back from Korea, take a rest.
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Don't need a rest.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Bull. Why doncha take that young ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,bride of yours up to the cabin for ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,a week and fuck your brains out?
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That might be fun.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,George and I are going to Florida. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Make speeches. Press the flesh.
The pinball machine goes bang, bang, bang.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'll be seeing the Baseball ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Commissioner. I'll mention Kenny.
INT. WEST WING RUFUS MEADOWS OFFICE - DAY
Classical music blasts. A screen displays Galmiche & Bolivar.
INT. A MILITARY BUS - DAY
Eight Iraqi OFFICERS sit. The bus enters an Army Base.
EXT. THE SATELLITE IN ORBIT - DAY
SATELLITE TRANSMISSION
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Bear witness to Muhammed...
INT. GALMICHE'S KITCHEN - DAY
Galmiche baking bread, sliding loaves in and out of a big oven . A screen displays Rufus and Bolivar.
GALMICHE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm sure Danny suspects something. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,We need to move it up.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What do you think, Rufus?
INT. A CONFERENCE ROOM - DAY
The eight Officers march in.
INT. RUFUS OFFICE - DAY
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,All I want, at the end of the day, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,is being on the right side of history.
INT. AN AUTO SHOP WITH A LIFT AND A GREASE PIT - DAY
Bolivar in mechanics coveralls under the hood of a 68 Plymouth Roadrunner. Two Arab MECHANICS assist him.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,If we win, we write the history. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,It's moved up. Happy, George?
The screen goes black. The Mechanics slide a robe on him.
INT. A CONFERENCE ROOM - DAY
The 8 Officers seated bolt upright. The door opens.
All eyes on Bolivar. He sits. He speaks in Arabic.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You are the best in the nation, the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,most trusted. That is why you were ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,selected. Iraq is in danger...
INT. HENRY'S OFFICE - DAY
Kenny at Henry's desk. Door opens. Kevin motors in.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Mister Slezak's in North Korea.
Kevin nods at the memorabilia wall. He motors up close.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Barry Bonds. Sad. Greatest home run ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,hitter ever. He can't leave the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,house. All those accusing stares. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Stubborn man. Keeps denying.
He picks up a bat, takes a swing. He has a strong upper body. He points the bat at a picture on the 2011 poster.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Same with that fellow you played ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,with. Jamaal Covington? Deny. Deny. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Know what happens? You die a bitter ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,old man with a shattered legacy.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,If they'd just admit it, do a little ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,penance, charity work, the powers ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,that be'd let 'em back in.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Said I didn't cheat.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Where'd you get I'm talking about ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,you? Talking about Barry Bonds.
He motors out, whistling Take Me Out To The Ball Game.
EXT. THE CURB OUTSIDE HENRY & MADELINES CONDO - DAY
Maddie takes her gearbag from car, walks toward the condo.
EXT. THE CURB ACROSS THE STREET DOWN THE BLOCK - DAY
Kenny, in his car, watches her. He smokes a cigarette.
GALMICHE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,He's changed his mind. Listen.
RUFUS (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Uh hi. George? Sorry I missed ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,you. Listen, I've been thinking...
INT. RUFUS OFFICE - NIGHT
Kevin can be seen in the outer office.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Just think we should hold off.
GALMICHE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Didn't want to tell you this, but ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,after the election, Danny's gonna ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,make Henry Chief of Staff.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What!!??
GALMICHE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You take care, Rufus.
EXT. SATELLITE IN ORBIT - NIGHT
SATELLITE TRANSMISSION
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hasten to prayer. Hasten...
EXT. CORPORATE JET DESCENDING OVER WASHINGTON, DC - DAY
INT. RUFUS OFFICE - NIGHT
Rufus in a rage throws a half-eaten apple at a portrait of Danny Prophet. It sticks, then slides off. Kevin watches.
INT. CORPORATE JET PASSENGER CABIN - DAY
Sound of plane slowing down. The 8 Officers stand. A tall Officer dons an Arab man's robe. The others don burqas.
INT. WEST WING WEIGHT ROOM - DAY
Kevin bench presses. Rufus enters. Kevin sees him in mirror.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Didn't like Galmiche touching you.
INT. HENRY AND MADELINE'S CONDO - DAY
Doorbell. Maddie opens the door. JEREMY, 21, and CHLOE, 17. Chloe's in a family way. Henry emerges from the study.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Let's talk in there.
Jeremy pulls Chloe up to him.
JEREMY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Dad, I want you to meet - -
HENRY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Are you coming or not?
They go in. The door closes. A long silence. Chloe giggles.
CHLOE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Gonna be weird calling you Mom.
AT THE FRONT WINDOW - DAY
Maddie and Henry watch as Chloe and Jeremy drive off.
EXT. THE SATELLITE IN ORBIT - DAY
SATELLITE TRANSMISSION
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hasten to prayer. Hasten. Hasten...
GALMICHE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Danny made a schedule change. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Game's today instead of tomorrow. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Means we go without Rufus.
INT. HENRY'S MERCEDES - DAY
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm not arm candy or a trophy wife.
INT. KEVIN'S TWENTY-YEAR-OLD TAURUS - DAY
The same road Henry & Maddie are on. Wheelchair folded in back. Kevin drives, Rufus beside him, map on his lap. They pass through an intersection.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Wasn't that the turnoff? You're the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,navigator, dammit!
Rufus makes a big ordeal out of unfolding the map.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,If we had a new car, we wouldn't ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,need a map. Just punch in the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,address. Or do a ping. Or...
Kevin turns, glares.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,When we get there, I want you to ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,just talk to him. No crazy - -
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Don't use that word.
INT. MIAMI AIR TERMINAL - DAY
Six of the Officers in Arab dress pass a flat panel screen displaying a baseball game. Sound of stadium organ.
INT. STADIUM PEDESTRIAN TUNNEL - NIGHT
Stadium organ playing. A WAITER with tray of snacks emerges to a packed rocking stadium. The GUARD waves him by.
EXT. ROGER DEAN STADIUM, WEST PALM BEACH FLA - NIGHT
SUPER: "WEST PALM BEACH, FL"
Holographic IMAGES of the President and the BASEBALL COMMISSIONER float above pitchers mound.
EXT. MICROVAVE ANTENNA ON WEST WING ROOF - NIGHT
INT. WEST WING SECURITY CENTER - NIGHT
Dusk. Subdued lighting. A long narrow room. A monitor runs the length of wall. Technicians at consoles. Images of the President and the Commissioner standing in field box.
EXT. ROGER DEAN STADIUM - NIGHT
Six Officers in Arab dress, their faces concealed, walk with trays of snacks. Sound of bat hitting ball, crowd cheering.
EXT. A CABIN IN THE WOODS - NIGHT
Dusk. Henry's Mercedes in driveway, the trunk open.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I need a quick walk to relax.
Maddie strides down driveway. Henry carries things inside.
INT. A HALLWAY IN THE WEST WING - NIGHT
Boots on tile. Two MEN in military garb walk toward a guarded door. We see they are two of the Iraqi Officers.
INT. KEVIN'S CAR ROUNDING A TURN IN FOREST - NIGHT
INT. OUTSIDE THE DOOR AT THE END OF THE HALLWAY - NIGHT
The scanner goes from a hum to a screech. The Guards cover their ears. Smoke comes from the Officers' mouths and noses.
INT. WEST WING SECURITY CENTER - NIGHT Image of President in tunnel on screen. WHUMP!! An quake-like shock. The wall collapses, screen shatters, ceiling caves in.
EXT. LAFAYETTE PARK, ACROSS STREET FROM WHITE HOUSE - NIGHT
WHUMP!!!!!!! Flames shoot from the windows of the West Wing.
EXT. ENTRANCE TO PEDESTRIAN TUNNEL AT BALLPARK - NIGHT
The Guards video goes black. He draws weapon, runs inside.
INT. WITH THE OFFICERS INSIDE THE MENS BATHROOM - NIGHT
The comm devices flash red. They draw weapons, rush out.
EXT. A SEMI-DESERT - DAY
SUPER: "SOMEWHERE IN IRAN"
In distance, a helicopter. A CROWD of men. A glint of steel.
Galmiche waves his weapon. Sound of helicopters approaching.
OFFICER 1
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,We need to load up and leave, sir.
PRESIDENT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Who are these men, George?
Officer 2 has a syringe. The President's eyes on Galmiche.
MONTAGE - BOLIVAR'S SPEEECH
-- Two FEMALE COLONELS watch a monitor.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hostile forces made an attempt on.
-- A FLIGHT CREW watches on a hand-held video.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,The President's Life. They failed.
-- 1,000 SAILORS on flight deck watch a hologram of Bolivar.
BOLIVAR
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,My forces are on the highest alert.
-- A SQUADRON of Jet Fighters fly in formation.
BOLIVAR (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Keep your powder dry. That is all.
MONTAGE ENDS
BACK TO SCENE
Bolivar turns, walks away. In the far distance, on the horizon, a flash, then a mushroom cloud.
EXT. NEXT TO KEVIN'S CAR OUTSIDE THE CABIN - NIGHT
Rufus inside, classical music at full volume. Wheelchair tracks in the dirt. We hear Maddie's muffled sobs. A shot.
KEVIN (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That's so everyone knows this is.
INT. CABIN - NIGHT
Bullet hole in bathroom wall up high. An antique knob on the bathroom door with an old-fashioned key in the keyhole. Maddie's muffled sobs through door.
KEVIN (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Real. Not a fairy tale. Not some ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Snow White or Cinderella story.
Sports gear on floor. We see a canopy bed and a low ottoman at the foot of the bed. Henry, in boxers, stands on ottoman, a noose on his neck pulled taut, the rope looped over the cross-brace above him and down, tied to the wheelchair.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,We're gonna chat about my friend.
Henry grips the rope. His demeanor is one of helpless rage.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I don't have your attention yet.
He fires high at bathroom wall. Sound of bullet hitting pipe.
BATHROOM - NIGHT
Gaping hole. Wallboard dust everywhere. Water sprays. Maddie stands, a canvas bag on her head locked at the neck. We hear her muffled sobs. She feels along the wall, around the sink.
Maddie's hand finds the medicine cabinet. Bottles and toiletries tumble out. She finds a pair of MEDICAL SCISSORS.
BEDROOM - NIGHT
The rope tightens. Suddenly, Henry's on his tiptoes.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Now do I have your attention?
BATHROOM - NIGHT
Maddie bleeds from cuts on her hand. Ripped pieces of canvas hang from her neck. She slams her shoulder into the door.
BEDROOM - NIGHT
The rope slackens.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Tell her to stop. Now!
BATHROOM - NIGHT
She slams into the door, harder this time. The frame splits.
BEDROOM - NIGHT
She crashes through, splinters flying. Kevin spins around.
KEVIN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What the hell?!?
The rope jerks Henry. He tears at the noose, kicking, thrashing as Maddie summersaults toward the sports gear. Kevin fires, misses. Madeline grabs the bat, springs up. Henry, swinging, blocks her way. Kevin fires, hitting Henry. His weapon jams. Maddie comes around Henry, bat upraised. Kevin powers backwards, lifting Henry. He throws his weapon.
EXT. THE CABIN - NIGHT
Music blasts. Rufus, outside, tries his phone. Busy.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hurry! They're starting without us!
He reaches in, leans on the horn. Horrific shadow cast on curtain of a beating taking place. He runs up to the door.
INT. THE LEAD COPTER WITH GALMICHE & THE PRESIDENT - NIGHT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Vice President secured, Sir.
GALMICHE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Amazing how peaceful it went. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Amazing. Like a church service.
INT. BEDROOM - NIGHT
Kevin's gun below Henry's limp swaying feet. Maddie, bloody, a wild look as she pounds Kevin to a pulp. Rufus appears at the door. He sees, gasps, and runs. She turns, sees, pursues.
On the hill, Madeline, bat held like a warclub, the cabin lights enveloping her like an avenging angel. We hear her shrill scream. Rufus stops, looks. He tries his phone. Busy.
RUFUS
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Where'll I go? Kevin! Damn you!
He plunges deeper, thorns rip and tear him bloody.
INT. KENNY'S BEDROOM - NIGHT
Kenny in his boxers, smoking a cigarette.
TELEVISION ANCHORMAN (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Arson and riots up and down the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,eastern seaboard. We go to Tampa.
TELEVISION REPORTER (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Outside Raymond James Stadium. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Reports of summary executions - -
Kenny switches it off. The screen goes blank.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hell's going on? Henry, get back.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Said I can't talk. All kinds of shit. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Maddie, lemme talk to Henry.
EXT. THE CABIN - NIGHT
Maddie stands at cabin door staring in, not daring to enter.
KENNY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Who? Who killed Henry?
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hanged him! One had a wheelchair.
KENNY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Wheelchair? Shit! Get out now!
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I killed him, Kenny. I killed him.
INT. KENNY'S BEDROOM - NIGHT
Kenny hurriedly gets dressed.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Stay off the phone. They'll track ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,you. Don't use Henry's car. It's ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,wired. They'll track it.
MADELINE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Who are they, Kenny?
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,The wheelchair. Is his car there?
INT. COCKPIT OF JET FIGHTER - NIGHT
MADELINE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Yes.
KENNY (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,It's a 98 Taurus. Stick shift. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Unwired. Use backroads. Meet me at ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,the Tiger Cages. Got that? The ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Tiger Cages. Now hang up. Do it.
PILOT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Pick up Slezak's wife at the zoo. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Watch for a 20-year-old Ford. Out.
We see Kenny rush outside, buckling his belt, zipping up.
INT. A ROOM SOMEWHERE - DAY
A blinking red box on the monitor. A gold dot moves across the screen toward it. Two fingers on a touchpad, working in concert, with precision, panache and pizzazz.
The fingers touch. The dot slides into the box. The red box blinks gold. The fingers press down.
EXT. OUTSIDE KENNYS HOUSE ACROSS THE STREET - NIGHT
As Kenny unlocks his car, WHUMP!!! He turns. A fiery flash, his house imploding, then collapsing inward. Lights switch on up and down the street. We hear a man running in the dark.
EXT. ON A NARROW COUNTRY ROAD - NIGHT
Kevin's car lurches forward, gears grinding, headlights on high beam. The engine races. Fires and explosions on horizon.
EXT. OUTSIDE KENNY'S HOUSE - NIGHT
POLICE and MILITARY VEHICLES. A MAN runs up to a COP.
MAN
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Can I report a stolen tow truck?
INT. IN THE TOW TRUCK ON THE ROAD TO THE TIGER CAGES - NIGHT
Lights flashing, siren wailing. We pass buildings ablaze. Kenny comes to an Army CHECKPOINT manned by a lone SOLDIER.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Snipers at Baileys Crossroads! ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Colonel Duran says get there ASAP!
SOLDIER
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,S'posed to check your ID!
Kenny tosses his ID to him. Soldier drops his gun catching it. Kenny roars off, leaves Soldier in dust.
EXT. BATTING CAGES - NIGHT
Kenny stands under the Tiger neon sign. High beam lights in the distance. Sound of grinding gears. He shakes his head.
INT. TOW TRUCK - NIGHT
Madeline has the bloody baseball bat across her lap.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Any idiot knows you drive with the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,lights off to evade apprehension.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Evade apprehension. Listen to you. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,What is this anyway?
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,It's a tow truck.
Kenny grins mischievously
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I stole it.
She gives him a look of shock mixed with amazement.
EXT. A HAYSTACK - DAY
Daybreak. Kenny and Madeline asleep. The bloody baseball bat between them. Sound of men's voices. Madeline's eyes open.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Kenny! Someone's out there.
They look together. Two police cars, lights flashing. One POLICEMAN is kicking the tow truck's tires. A second is on a comm device. Sound of a train in the distance.
INT. A RAILROAD BOX CAR - NIGHT
The train moves slowly. Kenny and Maddie sit, stare out a half-open door, the bloody bat between them.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Where are we going?
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That way.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Which way is that?
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,How do you know it's not going back ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,to where we came from?
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Because the boxcar is empty. It's ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,going somewhere to get filled up ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,and then it'll come back.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You are really stupid.
He rolls onto his side, his back to her.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Smarter people than you have called ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,me stupid.
She rolls onto her side, her back to him.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Soon as we're safe, cuttin' you loose.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm choked with anticipation.
INT. THE ROOM - NIGHT
Screen and touchpad. We see the hands, crocheting a doily.
MALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You missed.
FEMALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I hit the building.
MALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Close is only in horseshoes.
Long silence. She stabs herself with her crochet hook.
FEMALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Ow! I won't miss next time.
INT. THE BOX CAR - NIGHT
Artillery in the distance, small arms fire close by. Maddie stirs, unable to sleep. The train passes a burning building. Two MEN and a WOMAN dash toward the boxcar. This is Kid, Whit & Maria. A BIG MAN in an Army uniform pursues. He closes on them, fires a pistol. Kid falls. He's hit.
Maria and Whit drag Kid forward. The Big Man advances, makes ready to kill them. Suddenly, a rock strikes him in the forehead. THUNK!!! He drops like a bag of dirt. Maddie turns, sees Kenny in a classic pitcher's follow through.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Ole number one basic high hard one.
Maddie sticks the bat out. They grab on, pull themselves up.
INT. COCKPIT OF THE JET - NIGHT
PILOT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Niner Zero Two on station. Out.
FEMALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Stand by for hard scan download.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Yes, you can, Kid. Don't quit now.
MARIA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,That's Whit. Medic. Knows his shit.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Medic. So you're Army.
WHIT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Let's just say we used to be Army.
Whit opens a medical kit, starts cleaning Kid's wound. He's very gentle, very nurturing. Maria lets a cat out from inside her blouse. It huddles against her, frightened.
MARIA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Little Maria. I'm Big Maria.
WHIT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Gonna hurt. Bite down hard, man.
Kid cries out, drowned out by the train whistle.
INT. A HELO FLIGHT DECK - NIGHT The cabin below, a pile of glowing ashes. In the center, a horrifically blackened wheelchair frame. Helo spotlight floods the cabin. Rufus in front of the ashes, bathed in the light, bloody, naked, waving insanely.
INT. THE BOX CAR - NIGHT Whump! Distant heavy artillery. The train moves slowly. Whit takes out a pack of cigarettes, offers it. Kenny reaches out. Whit jerks the pack back.
Maddie & Kenny watch wide-eyed as Maria, then Whit, holds upa finger, cut off at the knuckle. Whit holds up Kid's stump.
MARIA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Didn't hurt much. We used this.
She takes out a Chinese chopping blade. She grins.
MARIA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Stole it from the galley.
INT. COCKPIT OF THE JET - NIGHT
Screen on control panel displays download at 90%.
INT. THE BOX CAR - NIGHT
Flames and flashes of explosions in the distance.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,It's my life! It was insured for ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,fifty million dollars. Can you even ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,comprehend what that means?
Maddie rolls her eyes. Kid groans.
EXT. THE JET - NIGHT
Fires, flashes, explosions below along the railroad track.
Suddenly, an earthquake-like shock shakes the train.
MARIA
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Scanners. They're looking for you!
WHIT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You have to leave. Now!
Kid groans. Maddie takes hold of the blade. The train passes a burning building. Three female bodies hang from a high fence. She runs her finger along the blade.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,I'm not going back there. I am not.
A stronger shock rolls through the train.
KENNY
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Guess this is where we part ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,company! Not gonna say it's ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,been a pleasure.
INT. THE ROOM - DAY
We see the screen. We see the train. We see the hands flexing nervously over the touchpad.
FEMALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Come on. Come on! Hurry!
INT. THE BOX CAR - NIGHT
Kenny lies on floor, unconscious. Maddie stands over him with the bat. She raises the blade, looks at Whit.
MADELINE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Hey Medic! Get over here!
INT. COCKPIT OF THE JET - NIGHT
The Jet hovers just above the last car of the train.
PILOT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Starting hard scan car by car.
An electrical field envelops last car, setting it afire.
INT. THE BOX CAR - NIGHT
A shock wave rolls through the car. Kenny, finger bandaged, coming to. Maddie stares at her bandaged finger. Whit tapes a package to the cat's torso.
WHIT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Bye, Little Ria. Hope you make it. ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,You're gonna need your nine lives
Whit tosses her out of the boxcar onto a soft grassy spot.
EXT. THE TRAIN - NIGHT
In the distance, fires and explosions. The last three cars, one a tank car, are ablaze. The Jet hovers menacingly.
EXT. A FOREST - NIGHT
Little Maria, tape around her, walks stealthily by a creek.
INT. COCKPIT OF THE JET - NIGHT
Screen on control panel displays two gold blinking lights.
PILOT
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Strong signals. They left the ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, train. They're by the creek.
FEMALE VOICE (O.S.)
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Roger. I have them, too. Get up ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,to altitude and release. Out.
EXT. A VIEW FROM 30,000 FEET - NIGHT
The long freight train drags the burning cars along the track. Suddenly, a flash. An explosion.
