CELLULAR
Original Story and Screenplay
by
Larry Cohen
CELLULAR
FADE IN:
EXT. LOS ANGELES, CALIFORNIA - AERIAL SHOT - DAY
Flying low over the massive sprawl of the city.
NARRATOR
There are 2,762,500 cellular
phones currently operating in the
county of Los Angeles.
QUICK CUTS
Local citizens on their cellulars.
A BUSINESSMAN IN A CROWDED RESTAURANT - simultaneously
devouring his lunch and conducting a heated negotiation over
his cellular.
CAMERA PANS THE RESTAURANT
A pretty woman at the next table also on her cell phone.
And beyond two more on theirs. Half the restaurant seems to
be talking and eating at the same time.
Even the waiter is in the corner anxiously taking a call
from his agent.
NARRATOR
Forty percent of all households in
the city utilize one or more
cellular devices.
EXT. DOWNTOWN L.A. STREET
A teenager on a skateboard weaves through traffic while
chattering on the phone.
He whips past numerous motorists at the light who are
likewise engaged in conversation.
OVER THIS: OPENING CREDITS APPEAR
EXT. THE BALL PARK - DAY
The crowd cheers as the Dodgers score a base hit -- except
for those who are too busy on the phone to notice.
INT. DARKENED MOVIE THEATE
Packed with customers. At the crucial dramatic moment
someone's cell phone goes off. The audience voices its
disapproval, hooting as the owner of the offending device
dashes up the aisle to the lobby.
EXT. THE BEACH - DAY
Gorgeous sun worshippers -- and many of them glued to their
telephones.
One couple mouth to mouth in an embrace, oblivious to all
around them -- until a cell phone rings. They immediately
terminate their lovemaking -- both of them reaching for
their cellular at the same moment. Nobody can afford to
miss a call.
NARRATOR
An estimated 200 new units are
being added each day.
CREDITS CONTINUE
INT. MEN'S ROOM
A long line of gentlemen at the urinals. And one of them
using his free hand to punch up a number.
EXT. BEVERLY HILLS - HIGH SCHOOL - DAY
As the students swarm out, immediately switch on their cell
phones and launch into an update of the day's events.
INT. A LAP DANCING CLUB
As a frustrated young lady vainly tries to attract the
attention of her middle aged client by giving it her all --
only to find him oblivious to her charms and entirely
focused on his cellular call.
Despite the proximity of her bare breasts and the thrashing
of her long auburn hair across his face there is no
response. It's as if she's not even there.
HIGH ANGLE - ABOVE THE CANYONS
Perched here amidst the wilderness one of the giant dishes
that relay thousands of calls to a satellite station in the
sky.
ON THE SOUND TRACK we HEAR a cacophony of overlapping voices
-- idle babble -- crucial information -- and just plain
talk, totally unintelligible -- which quickly begins to take
on the quality of chirping insects -- as still more voices
join in and the volume rises to virtually engulf us.
CUT TO BLACK:
SILENCE ON SOUND TRACK
NARRATOR
This is the story of 90 minutes in
the life of one cellular phone.
FADE IN:
EXT. CULVER CITY - DAY
A convertible moves through afternoon traffic with its top
down. It's a 1995 Chrysler Sebring, colored maroon.
INT. THE CAR
MUSIC is BLARING. It's vintage Tito Puente; "Cherry Pink
and Apple Blossom White."
THEO NOVAK is alone at the wheel. He's handsome, a sharp
dresser in his Imperio Armani suit and cashmere turtleneck.
He seems to be enjoying the ride until the cell phone lying
on the seat intrudes upon his privacy.
THEO
What now?
The caller I.D. on the cell phone reads "ANONYMOUS."
THEO
Yeah, hello?
There's a woman's voice on the line -- a voice choked with
fear. Not any voice he expected to hear.
LENORE'S VOICE
Thank God -- thank God I've got
you.
THEO
Who is this?
LENORE'S VOICE
You mustn't hang up.
PRODUCTION NOTE: WE NEVER CUT TO THE OTHER END OF THE LINE.
WE REMAIN WITH THEO AT ALL TIMES.
THEO
Do I know you?
LENORE
I've been trying to get someone --
anyone. For hours ...
THEO
If this is some sales pitch I'm
not buying --
LENORE
You don't understand.
THEO
No. You don't understand! You
caught me on my cellular on the
way to pick up some business
associates. And I've got no time
to screw around.
LENORE
Will you let me explain!
THEO
And what're you whispering for?
LENORE
I can't talk any louder. They
might hear.
Theo switches off the Latin CD so he can hear more clearly.
THEO
Lady, try making some sense.
LENORE
You may be our only chance. I
don't know if I can do this again.
THEO
What'd you do! Just pick my
number out of the air?
LENORE
They smashed the phone. I've been
clicking the loose wires together
hoping it'd make a connection.
THEO
Who smashed the phone?
LENORE
They're holding my husband
downstairs.
THEO
Sure. And they left you upstairs
to make phone calls?
LENORE
They gave me pills to make me
sleep. They didn't realize how
much Seconal I'm used to -- that
I'd have so much tolerance --
THEO
Well I'm not tolerant of being
bothered with this bullshit story
when I'm about to make the most
important score of my life. This
has gotta be some "put-on," right?
LENORE
I'm sorry. I'm so sorry to do
this to you.
THEO
You're not doing anything to me --
because -- listen to this
carefully -- I do not care.
LENORE
I don't believe you.
THEO
(laughs)
You're the one who's not to be
believed.
LENORE
My name is --
THEO
I don't want to know --
LENORE
(persists)
My name is Lenore Oberfeld.
THEO
Don't expect me to tell you who I
am.
LENORE
I realize you don't want to be
involved.
THEO
I am not involved. Keep clicking
your little wires. You'll get
someone else. Good luck.
LENORE
You won't disconnect.
THEO
Oh won't I?
LENORE
Because you know you'll be killing
us.
THEO
Don't lay this on me!
LENORE
Then hang up! Do it!
It's the total despair of these words that finally hooks
Theo Novak. He can't hang up.
THEO
Why would anybody want to hurt
you?
LENORE
They tortured my husband. Made
him give them the pin numbers of
our accounts. Once they get
what's in the safe deposit box
they'll kill us.
THEO
Where'd they take you to?
LENORE
I have no idea. They put us in
the back of a van with blacked out
windows. The shutters up here are
nailed shut.
THEO
Well isn't there a number on the
goddam phone?
LENORE
No -- nothing.
Theo is so shaken by the call he runs a stop sign. Other
cars honk furiously. He ignores them.
THEO
Okay. The police are gonna need
your full name and address.
LENORE
No! No police. They'll know
right away the authorities are
looking for us. They'll kill us.
We've seen their faces.
THEO
The cops could trace this call
back to you.
LENORE
One of them is a cop.
THEO
What makes you say that?
LENORE
He pulled us over as we left the
Riviera Tennis Club. Claimed we'd
run a stop sign. And when Elliot
was reaching for his license --
THEO
Who?
LENORE
Elliot -- our driver. The officer
put his gun to the back of
Elliot's head and -- fired. It
was so quick.
THEO
Oh man. These people mean
business.
LENORE
Then they took the Mercedes away
-- with his body in it.
THEO
Listen, there's an overpass coming
up. I may lose you for a minute.
We see a freeway overpass up ahead clogged with congested
traffic. Theo could get stuck under it for awhile.
LENORE
No don't. You could lose me for
good. Don't go through that
tunnel.
THEO
I'm in traffic. There's no place
to turn.
LENORE
Please.
THEO
Shit!
Theo Novak throws on the brakes. The car behind him
screeches to a stop nearly rearending him.
DRIVER
Are you nuts?
THEO
Back up. I've got to pull out of
this lane.
DRIVER
Fucking idiot!
THEO
I acknowledge that! Just back up!
The cars behind are beginning to honk horns.
Theo is waving at the driver in the next lane.
THEO
Hey Buddy! Can you let me pull
over? Give me some space to pull
over.
2ND DRIVER
Where do you think you're going?
THEO
Any place.
2ND DRIVER
This is one way.
THEO
I know. But it's an emergency.
Somebody dying. Okay?
2ND DRIVER
I don't see anybody in there but
you.
THEO
I would appreciate a little space.
Thank you.
The driver in the next lane backs up. Now Theo can squeeze
his Chrysler through. By jumping the curb he can drive
across the sidewalk and into the parking lot of a small
corner mall with its donut shop and Chinese laundry. He
takes the exit which leads onto a residential side street.
THEO
(into phone)
Fine, no tunnel. Are you still
with me? Hello?
LENORE
I hear them coming upstairs. I
won't be able to talk for awhile.
I have to lay the phone down and
pretend to be asleep. So don't
talk. Don't say a word or they'll
hear it.
THEO
I can't stay on this line. I'm
picking people up. I'm already
overdue.
(no response)
Hello?
(no answer but the
line remains open;
Theo listens)
Theo quickly puts the convertible top up and rolls up the
windows so he can hear more clearly.
There are indeterminate sounds coming over the open phone
line. It could be someone walking on a wood floor. Theo
keeps listening as he drives. He's not paying a lot of
attention to the road. A large trailer truck honks at him
nearly blowing him out of his seat. He quickly covers the
earpiece of the phone. But the kidnappers may have already
heard the sound and have been alerted by it. He waves at
the truck driver to hold it down. The truck driver laughs
at him. Honks again.
Theo pulls around onto the main boulevard again. He's
bypassed the overpass but not the traffic. He keeps driving
and listening. Maybe she's gone. Gone for good.
Minutes ago he wanted her gone. Now he's oddly concerned.
He listens harder. Still nothing. Alongside him a black
kid in a Honda has his rap music blaring. Theo continues to
keep the mouthpiece of the cellular pressed tightly to his
chest to muffle all noise. But he has to lift the receiver
to his ear now and then to listen. Still nothing.
THEO'S POV - THE INTERNATIONAL HOUSE OF PANCAKES on the
corner ahead. His two partners are waiting to climb in when
Theo pulls up.
KLINGER is about sixty. Once a ladies' man he has watched
his looks fade. He tries to hide his years with the aid of
Clairol, badly applied and a few shades too dark.
CAITLIN CARUSO has the look of a young woman who works out
five or six times a week. She's completely buffed. She
compensates by dressing in ultra-feminine attire -- pinks
with lace cuffs and an abundance of makeup.
KLINGER
You took your sweet time.
Theo still keeps the phone buried in his chest.
THEO
Just get in and keep still.
Klinger climbs in the back seat. Caitlin piles in beside
Theo and gives him a fleeting kiss.
CAITLIN
Who's on the phone?
THEO
I'll explain later. I'm sort of
on hold.
Theo pulls away into traffic.
KLINGER
You switched license plates?
THEO
It's taken care of.
KLINGER
We have never worked a gig
together but I am a firm believer
in preparation. So let's go over
this again step by step.
THEO
Not this minute.
CAITLIN
He's screwing with us. There's
nobody on that phone.
Caitlin tries to take the phone. Theo slaps her hand away
hard -- and keeps the mouthpiece tightly covered.
CAITLIN
What was that for?
THEO
You could've made me lose my call.
CAITLIN
So what? What could be important
enough to put your hands on me?
THEO
I didn't hurt you.
CAITLIN
You couldn't hurt me. But it's
the principle.
KLINGER
That was definitely out of line
and totally unprovoked. I heard
you were a hitter.
THEO
Bullshit.
KLINGER
That's your "rep."
THEO
Wait! I hear her breathing now.
There, she just picked it up
again.
CAITLIN
It's some chick you've got on
there? With heavy breathing, for
Christ sake?
He listens anxiously as he drives.
THEO
Say something ...
CAITLIN
Me, he won't stay on the phone
with for five fucking minutes
without bitching.
THEO
I'm trying to help somebody.
Okay?
CAITLIN
He's at it again. Like that night
at the Emerald. This piece of
Euro-trash is slapping shit out of
his little wife in a back booth --
so Mr. Good Deed here has got to
step in and pound the fucker's
head into the wall. Meantime
"Wifey" recovers enough to pull
off her high heel and nearly take
our hero's eye out. It took six
stitches.
THEO
How was I in the wrong?
Some pedestrians crossing the street shout obscenities at
Theo as they jump back on the curb.
CAITLIN
Be careful. There were people in
that crosswalk.
KLINGER
That's all we need. Better let me
drive.
THEO
I'm fine. She's back on. Hello?
(uncovers mouthpiece)
I'm here.
LENORE
(in pain)
They just walked out. The smaller
man -- he must be Dominican or
Haitian -- he kicked me so hard.
I felt a rib crack but I never
made a sound. It's starting to
hurt now -- real bad. A
throbbing. I can't even take a
deep breath.
THEO
Don't move around. You don't want
to puncture a lung.
CAITLIN
Was someone in an accident?
LENORE
Do I hear a woman's voice?
THEO
I'm with two friends now.
LENORE
Rachel! They're going after
Rachel now -- and I can't stop
them.
THEO
Stop throwing names at me.
LENORE
Rachel, my daughter. She's an
honor student at Parker. My God,
she's only nine.
THEO
What do they need her for?
LENORE
They know Jack will give them what
they want once they have her.
THEO
Bottom line! There's nothing I
can do for you but tip the cops.
KLINGER
What do you mean tip the cops?
(to Caitlin)
Is the man a lunatic or what?
THEO
Will you relax? This in no way
affects our business.
(into phone)
Go on.
LENORE
The bigger man is driving our
Mercedes to the school. Rachel
will recognize the car. She'll
get right in.
THEO
Let me call the school -- tell
them not to let her go.
LENORE
They don't know you. They won't
listen.
KLINGER
(grabs Theo from
behind)
Hear this, Novak! Loud and clear.
No cops! Who did I get mixed up
with here? Has he got a fucking
suicide wish?
Lenore has overheard Klinger's outburst.
LENORE
He's right. You'll get my whole
family killed.
THEO
He's right? Look, don't try to
put blood on my hands. You've got
one hell of a nerve siding with
him!
KLINGER
Just hand up on the bitch!
(yells)
Fuck you, madam. And goodbye!
THEO
That's what I deserve for
listening in the first place.
He glares at the cellular that got him into this.
THEO
And I thought the worst this thing
could do was give me brain cancer.
But he still can't bring himself to hang up.
CAITLIN
Wait. Let me talk.
Theo gives up the phone. Caitlin speaks.
CAITLIN
I'm sorry for whatever's happened
to you but we're definitely not
the right people to do you any
good.
LENORE
Don't you have children?
CAITLIN
Matter of fact I did have a kid
once. But he's a lot better off
with his father in Milwaukee.
KLINGER
Have you got to tell her your life
story?
CAITLIN
This is my conversation. I'll say
what I fucking please.
KLINGER
(directing Theo)
Wake up. Make a right at Ocean
Avenue. The hotel's a few blocks
up on the left.
THEO
I know where it is.
(to Caitlin)
Give me that phone back.
CAITLIN
I'm not finished.
(into phone)
Under other circumstances I'd
gladly go out of my way. I don't
understand why you just don't
phone some other person.
THEO
She can't! It's busted. Now hand
that on back!
CAITLIN
Theo wants to talk again.
THEO
Did you have to tell her my name?
She returns the phone to him.
LENORE
"Theo?"
THEO
Forget who I am. Where's this
school located?
LENORE
26th off Wilshire.
THEO
Even if I got there first she
wouldn't go with me.
LENORE
She would if she heard my voice on
the phone.
KLINGER
Enough! You're not going
anywhere!
Klinger makes a wild grab for the phone. Theo reaches back
and whacks him across the face. Hard.
THEO
I don't like anybody laying their
hands on me.
KLINGER
Just like they say; no fucking
self control.
THEO
If you know that just back off.
KLINGER
Shit. There's the hotel. You
overshot the driveway.
THEO
And stop with the directions.
KLINGER
Make a "U" and go back.
THEO
That's illegal. You want us
pulled over? I'll turn around at
the corner if you'll shut the fuck
up.
KLINGER
You're doing all the talk.
CAITLIN
Will you two cut it out?
THEO
(into cellular)
This Mercedes of yours, what's it
look like?
LENORE
A 600S black. I feel like such a
fool. I don't even know the
license number. We have four
cars.
Klinger is talking while Lenore is speaking. They overlap.
KLINGER
We still gotta run the drill
before we walk in that lobby.
THEO
Go ahead then. I'm covering the
receiver. She can't hear.
KLINGER
First off, this Mr. Chow Yen
doesn't speak a lot of English.
The girl with him will interpret.
There will be a third person to
accompany you into the men's room
where you can take count. I hope
you know Krugerands better than
they know a Hockney.
THEO
I improved on the fucking
original.
KLINGER
Let's hope so. Once you come out
and okay everything I'll give
Caitlin the sign that she can
bring the painting on over.
THEO
It's rolled up in the tube on the
floor back there.
They have turned around and pulled into the hotel's circular
driveway.
LENORE
Why isn't anyone answering me?
THEO
Just hang on. I've got a life of
my own.
CAITLIN
What if they do question the
authenticity?
KLINGER
Oh. Seems yours girlfriend is
casting doubts on your expertise.
CAITLIN
I am not! Fuck you! Theo's a
genius.
KLINGER
Any trouble, we whip out our
Treasury Department badges -- show
them the wire I'm wearing and read
them their rights. Theo seizes
the Krugerands as evidence.
Naturally they start negotiating.
Offer to give us up somebody else.
And we listen. Take notes on who
bought what stolen art and tell
them we have to clear it with our
superiors at Justice. We pick up
their passports -- escort them to
their room and leave them all in
the bathroom handcuffed to the
plumbing.
LENORE (V.O.)
Will you please speak to me!
Theo?
THEO
Another minute.
KLINGER
Got your badge?
THEO
(pulling out folder
with fake Treasury
Dept. badge)
Satisfied, Wiseass?
KLINGER
In any event, whatever occurs you
do not belt anybody.
THEO
What do you keep making me out to
be?
Theo spots a pay phone kiosk near the hotel.
THEO
(into phone)
Okay, okay, Lenore, calm down.
Either let me call the school or
better yet, the F.B.I.
KLINGER
Sure -- and they record your
voice. And later on we all get
slammed for kidnap and murder.
That's out!
A parking valet rushes up.
VALET
Checking in?
KLINGER
Here for lunch.
(hands over a five
dollar bill)
Leave it close by.
VALET
No problem. It'll be in that
loading zone.
KLINGER
Step out of the car, Theo.
CAITLIN
He's right, Theo. She might not
be around to back up your story.
You could end up in the middle of
this.
THEO
Look -- I've got the lives of
maybe three innocent people
hanging on the end of this line.
KLINGER
Well, I don't know any innocent
people and I don't give a shit.
VALET
Excuse me but you're blocking our
driveway. I've got to move the
vehicle.
Several cars are backed up trying to depart the hotel.
Klinger jumps out of the back seat opening the passenger
side for Caitlin who takes along the tube with the fake
"Hockney" inside.
CAITLIN
I know you feel awful but it's not
your responsibility.
THEO
Then whose is it?
CAITLIN
You gotta just look the other way.
THEO
I'm sorry. You'll do all right
without me. Keep my share.
VALET
(insistent)
Sir?
THEO
I'm moving the car. See! I'm
moving it!
The passenger door is still open as Theo steps on the gas.
The Chrysler careens down the circular driveway into traffic
on Ocean Avenue and makes a sharp left.
Caitlin and Klinger stare after it in apparent disbelief.
KLINGER
I knew it the minute I laid eyes
on him. A fucking flake!
He looks over at the parking valet who now has no car to
park.
KLINGER
Give me back that five.
INT. THEO'S CAR - DAY
Speeding now -- and talking into the cellular.
THEO
Hello? It's just me and you
again.
LENORE
What about the others?
THEO
I kind of dropped them off. They
were getting on my nerves.
LENORE
What are you doing now?
THEO
What do you think I'm doing? I'm
on my way to the school like you
wanted.
LENORE
Forget about us. Just save
Rachel.
THEO
Tell me what she looks like.
LENORE
They say she resembles me -- dark
hair, ponytail, very dark eyes.
They all wear the same uniform.
(a beat)
Please. Be careful. The man
driving the car must have a gun.
THEO
I'm not looking to get myself
killed. I just hope the battery
on this phone holds out.
He flips open the glove compartment and searches around
inside. Jammed with nothing but CDs.
THEO
Where's the fucking recharger
cord? Must be in her car, dammit.
LENORE
How much time do you have left on
it?
THEO
I don't know. 80 or 90 minutes,
tops.
LENORE
Why didn't you do what your
friends wanted and just -- get rid
of me?
THEO
I don't know.
(a beat)
I hung up on somebody else a long
time ago, and later on I wished I
hadn't of.
LENORE
A woman?
THEO
Hey drop it, okay?
LENORE
I didn't mean to open up any old
wounds.
THEO
It never healed. I called her a
lying bitch and everything else
and I hung up on her. "Click."
You don't exist.
LENORE
And that was the end of it?
THEO
(laughs)
I sure as hell got my wish. She
doesn't exist.
(a beat)
So maybe you reached the
appropriate person after all.
LENORE
I'm sorry if I caused you to lose
your business deal.
THEO
Well you did.
He feels like hurling the damn cellular out the car
window.
THEO
Now I know why I never wanted one
of these. I should've made her
take it back.
He makes a screeching left against oncoming traffic.
LENORE
What do you do for a living?
THEO
Sometimes I paint.
LENORE
Our house always needs touching
up.
THEO
Pictures.
LENORE
I didn't mean to insult you.
You're an artist.
THEO
They say my work is somewhat
derivative.
He takes a shortcut, racing down a narrow alley behind a
line of shops, knocking a few plastic trash bins over.
LENORE
I suppose if you're a struggling
artist you need a patron.
THEO
Lady, you don't have to keep up a
running commentary.
LENORE
I'm afraid if I stop talking I'll
lose you.
(a beat)
Just name any reasonable amount
and it's yours.
THEO
Shit, stop with the money! I
never asked for a nickel. I was
just doing this. And you have to
fuck it up with a price tag.
LENORE
I didn't mean to. It's just the
way I am.
THEO
A price on everything.
LENORE
I wasn't always like that. I
don't think I was.
THEO
I'm about ten blocks from the
school.
LENORE
I have no right to ask for help.
I've never thought of anybody but
myself.
THEO
That makes two of us.
LENORE
(suddenly)
You're breaking up. I can't hear
you. Theo?
There's heavy static on the line.
THEO
There are cables overhead. Hang
on. It'll clear up.
LENORE
I've lost you. You're gone. I
can't hear anything.
Suddenly another voice comes on. As often happens, the
cellular has picked up another call in progress.
CALLER
Somebody's on our fucking line!
FEMALE CALLER
How long have they been listening?
THEO
Lenore, hang on.
CALLER
Mister, get off of our call!
THEO
This is an emergency so you get
off!
FEMALE CALLER
Don't tell us what to do. You've
got some nerve! Dickhead!
THEO
Lenore, are you still there? Is
it a right or left off Wilshire?
LENORE
Make a right. You can't miss it.
THEO
I'm making my turn. I see the
school up ahead.
THEO'S POV - THE PARKER SCHOOL - its yard now full of
students.
The voices on the crossed line still remain, giving Theo a
hard time.
CALLER
This shit happens all the time.
I'm switching to Air Touch!
THEO
Good idea. Get lost!
FEMALE CALLER
Rude asshole.
She hangs up. The line is clear again.
There are school buses already loading up. The day's
session has ended.
CAMERA WHIP PANS AROUND - car doors slamming, buses pulling
out. Mothers are car-pooling, picking up groups of kids,
all of whom are in uniform. Vehicles are departing, none of
them a black Mercedes.
THEO
Lenore, I'm here. I'm getting
out.
LENORE
I can hear you again, clearly.
THEO
Great. Stay with me. There must
be a hundred kids out here.
Theo is out of the car which he leaves double parked.
Camera races with Theo as he enters the school yard.
THEO
I don't see any Mercedes.
He looks around, trying to find any dark girl with a
ponytail. He sees one and catches up with her.
THEO
Are you Rachel?
The girl looks at him suspiciously and keeps walking. She's
obviously been trained not to talk to strangers.
THEO
Does she have a red ribbon on that
ponytail?
LENORE
That's not her.
Whip pan to another prospect.
THEO
Does she wear glasses?
LENORE
No.
THEO
I've got to ask somebody.
Theo approaches a group of boys.
THEO
Anybody see Rachel Oberfeld?
2ND BOY
She always gets picked up by her
driver. For dance class.
Stuck-up little bitch.
THEO
Is she gone?
Then Theo realizes a female teacher has come up behind him.
TEACHER
May I help you?
THEO
Did Rachel Oberfeld leave?
TEACHER
Of course she did. What business
is that of yours?
A uniformed security guard is approaching. This schoolyard
is well patrolled.
SECURITY GUARD
Any trouble?
TEACHER
He's asking about the Oberfeld
girl.
LENORE
(on cellular)
What's happening?
THEO
(into phone)
She's gone --
LENORE
Don't say anything. Don't alarm
them. Just go!
THEO
I'm trying to.
SECURITY GUARD
Is that your Chrysler double
parked out there?
THEO
Yeah. I'll move it.
LENORE
(over cellular)
They've got her. There's nothing
you can do but go.
Theo is already exiting the school yard. The teacher stares
after him suspiciously. The security guard follows him to
the curb, watches him get in.
INT. THEO'S CAR - DAY
Theo pounds his fist on the dashboard in total frustration.
THEO
I fucking blew it!
He sees the guard copying down his license plate.
THEO
He's copying down my license --
for all the good it'll do him.
LENORE
It's not your fault, Theo. You
tried.
THEO
I should've put them out of the
car and come sooner!
LENORE
When Jack sees they've got Rachel
HE'LL tell them what they want to know.
Theo starts the engine and pulls away from the school. He
rounds the corner onto quiet side streets.
THEO
You said they wanted to get into
some particular safety deposit
box?
LENORE
The one in Brentwood.
THEO
What bank?
LENORE
The City National on San Vincente.
Theo sees something up ahead. He grins.
THEO
Wait just a minute. Our luck has
changed.
LENORE
What do you mean?
THEO
Black Mercedes, 600S.
He steps on the gas.
VARIOUS SHOTS
Theo pursues the Mercedes, catches up with it and forces the
driver over to the curb. The back windows are tinted.
He leaves the cell phone on the seat as he gets out and
hurries over to the Mercedes just as the chauffeur jumps
out.
Before the driver can say a word Theo decks him. He goes
down hard.
Theo pulls open the back door expecting to see a nine year
old girl.
Instead he's looking at an elegant eighty year old woman who
tosses her beaded handbag into his arms.
OLD WOMAN
There -- take it and leave us
alone!
Theo stares at her moment. Then at the handbag he's
caught. He hands it back.
THEO
Excuse the misunderstanding.
(to driver)
Don't get up!
The driver is sensible enough not to rise until Theo has
pulled off.
INT. THEO'S CAR
Moving fast to get out of the neighborhood.
He picks up the cell phone.
THEO
I'm not doing too well.
(a beat)
What's the matter?
LENORE
I heard someone pulling in behind
the house. I heard Rachel
screaming and then she stopped all
of a sudden. I don't know what
they did to her.
THEO
Which means you can't be more than
five or ten minutes from here.
LENORE
Even if you found us -- what then?
THEO
I'm cutting across to Bundy to
Brentwood. That bank is our best
bet. If anybody shows up I could
follow them.
LENORE
Jack will negotiate with them.
He'll identify the right key and
give them the information they
need to gain access and they'll
let Rachel go.
THEO
Not a chance.
LENORE
Don't say that.
THEO
Do you know what's in that box?
LENORE
I'm not supposed to -- but I do.
Millions in cash and bearer bonds.
Theo swallows hard. That's enough to put him into mild
shock. After all Theo Novak is not known for his honesty.
THEO
They'll recognize it's not your
husband.
LENORE
Jack was only at that branch once
when he took the box years ago.
THEO
They've still got to be able to
sign his name.
LENORE
It's not hard to do. I do it all
the time.
THEO
I'm pretty good at signatures
myself.
LENORE
(suddenly)
Oh my God. I heard her scream
again. What are they doing to
her? Why can't I do anything to
stop them?
THEO
You're doing what you can. Why's
all this money stashed?
LENORE
To hide it from the I.R.S.
THEO
How come everybody turns out to be
a crook?
LENORE
Don't talk. Don't talk!
THEO
What's going on?
LENORE
The front door slammed. Someone
went out. There's a different car
starting.
THEO
I might still get there first.
The lights are with me.
(a beat)
How would I identify the guy who
shows up at the bank?
LENORE
If it's the tall man -- he had one
of those hair transplants. Tufts,
you know. It still hasn't grown
fully in. The other one is from
the islands. Braided hair -- very
dark.
THEO
It won't be him.
LENORE
Theo, I want you to know, you're
probably the most decent man I've
ever met.
THEO
Yeah, sure that's me. Ask
anybody.
LENORE
But I guess we haven't really met
-- have we?
THEO
I've got a lot of respect for you
too. For the way you feel about
your family.
LENORE
Jack hasn't loved me for years.
And now I'm afraid she's turning
out to be like him. So cold and
distant. I've let him make her
like that.
THEO
Why tell me this?
LENORE
Because you're probably the last
person I'll ever talk to.
THEO
You can't give up.
LENORE
When they first started
questioning Jack -- he answered
them in that tone he usually
reserves for me. And they began
beating him. And I watched. And
I didn't feel anything ... What
kind of a person am I?
Theo is now on San Vincente approaching the Brentwood
community -- the shops, malls and restaurants.
THEO
The bank should be -- there it is.
I'm looking for a place to park.
Pray for a miracle. I don't
believe it. Somebody's pulling
out of a meter. Just across from
your bank. Better yet. There's
40 minutes left on the meter.
Maybe this is my day.
There's a click on the line.
THEO
Did you jiggle the phone?
LENORE
No.
THEO
Did you hear that click?
LENORE
Yes -- I think so. Another
crossed line?
THEO
Or somebody else there is
listening in --
LENORE
Downstairs. There must be an
extension. Oh my God --
THEO
Don't panic. I might be wrong.
(beat)
Hello?
(beat)
I guess I was wrong.
Another rude motorist tries to steal Theo's precious space
before he can pull in. Theo honks at him.
THEO
Don't even think about it!
The other driver won't budge until Theo threatens to get
out. Finally frustrated, the other driver surrenders the
space. Theo backs in -- just as Lenore comes back on in a
panic.
LENORE
No. I hear them. They're coming
upstairs. They know!
THEO
Try what you did before. It
worked before. I won't talk
anymore.
He gets out carrying the cellular phone which he continues
to listen to -- even as he crosses the street to the bank.
There's silence on the other end of the line.
And Theo makes no attempt at further conversation lest he
alert Lenore's captors that the phone is open.
All at once he draws up short. He sees something across the
street.
HIS POV - A POLICE CAR - visible at the mouth of an alley --
Someone inside. Is he watching the bank? The windows are
pulled up. All Theo can see is a silhouette inside.
BACK TO THEO
Focused on that police car.
BACK TO LONG SHOT - POLICE CAR - BACKING UP
It slowly vanishes back into the alley.
TRUCKING SHOT
Theo quickly crossing the street. He peers through the
glass into the bank.
HIS POV - INT. THE BANK
There's plenty of activity. Customers on line. Half a
dozen tellers in action.
BACK TO THEO
He decides to go inside for a closer look.
CAMERA FOLLOWS THEO INTO THE BANK
He carries the cellular with him -- still listening.
INT. THE BANK
Theo looks around for some sign of the man Lenore described
with such clarity. There's nobody like that. He'll wait.
There are video cameras mounted -- surveying the bank from
all angles.
Theo can't just stand idly around. He'd attract attention.
He gets on the long line where he won't seem conspicuous.
He keeps the cell phone to his ear and his hand cupped over
the speaker portion to muffle even the sound of his
breathing. And he listens hard.
There are male voices distant and unintelligible.
Then the sound of some furniture being turned over.
Then A WOMAN'S SCREAM!
Finally there's a rumble as if the receiver on the other end
was being roughly dropped and picked up again.
Theo reacts to what he hears while standing in the midst of
the crowded bank. He struggles to control his emotions.
A deep voice is suddenly heard on the line.
MALE VOICE
Is somebody there? Answer me.
Theo doesn't know whether to reply.
In the background Lenore is heard screaming again.
VOICE
You shut up!
There's the sound of violent activity. At that moment
someone taps Theo's shoulder.
WOMAN CUSTOMER
Next.
Theo looks back at the woman behind him -- blankly.
WOMAN CUSTOMER
Will you kindly pay attention.
You're next.
Theo covering the mouthpiece tightly.
THEO
Get ahead of me.
He walks off the line -- still riveted to the phone.
MALE VOICE
Whoever you are -- the girl's
gonna suffer for this. You got
them all killed.
Theo can't hold back anymore.
THEO
(into phone)
Don't hurt her -- you bastards --
That's all he gets to say before the phone goes dead.
THEO
Don't hang up --
But they have. The line is dead. He has finally lost all
contact with Lenore. He's numb with anger.
CAMERA SWIVELS 180 DEGREES around Theo as he experiences a
sudden dizziness. Total isolation sets in. He just stares
at the dead phone in his hand -- which is trembling now.
CAMERA CONTINUES ANOTHER 180 DEGREE SWEEP around him to
reveal a very tall man coming out of the vault area and
crossing the bank toward the exit. HIS UPPER FOREHEAD IS
COVERED WITH MINUSCULE TUFTS OF IMPLANTED HAIR. His eyes
are deeply set and close together. He carries a large
leather attache case.
Theo focuses on the man -- just as he reaches the automatic
doors which swing open wide. In an instant he's out on the
street.
Theo hurries after him. CAMERA FOLLOWS.
EXT. BRENTWOOD STREET - DAY
The tall man is moving swiftly along the sidewalk.
Theo is directly behind him. The dead phone is still in his
hand. He realizes this and stuffs it in his jacket pocket.
TRUCKING SHOT - The tall man walks to the corner with Theo
behind him. The light is red. Traffic thick.
Suddenly the man abruptly turns looking face to face at
Theo.
TALL MAN
Tell me what you want.
Theo struggles to control himself and put on an act.
THEO
My brother's considering one of
those transplants and I wondered
-- is it painful?
TALL MAN
You were watching me in the bank.
Theo grabs the wrist of the hand that holds the attache
case, twists it hard.
THEO
That looks heavy. Let me help you
with it.
THE MAN
YOU'RE fucking with the wrong
people, Mister.
Theo's instinct is always to hit first. He throws a jarring
left that takes the bigger man by surprise.
His adversary is stunned but pulls free and uses his thick
attache case as a weapon swinging it hard.
Theo staggers then lurches forward to avoid a second blow
tackling the six footer low and propelling him off the
sidewalk and into the path of oncoming traffic. WHAM!!!
A Chevy Blazer slams into Theo's adversary knocking him off
his feet.
The car behind the Blazer rearends it as other vehicles slam
into each other.
The tall man has struck his head on the sidewalk after
bouncing off the hood. He's lying quite still and he's
bleeding.
Around him a crowd is forming and traffic is at a
standstill. Theo takes a step forward and trips over
something. It's the leather attache case at his feet. He
stoops and picks it up.
It's chaos as the drivers of the stopped vehicles jump out
shouting at each other.
MOTORIST
He jumped in front of me.
2ND MOTORIST
Look what you fucking did to my
car!
MOTORIST
All of a sudden he was there.
Nobody could've stopped.
2ND MOTORIST
Tell it to the cop! Why isn't
there ever a cop?
THEO
I'll go look for one.
He walks casually through the mob that's forming -- in the
direction of his Chrysler.
Behind him, the crowd around the accident victim grows. And
still no police in sight.
A uniformed guard from the supermarket kneels over the body.
SUPERMARKET GUARD
He's hurt bad.
An eyewitness rushes over, shouting.
EYEWITNESS
I saw the whole thing. He was
pushed! I was sitting at the
Starbuck's over there and I saw it
all!
ANGLE ON THEO
he's heard the eyewitness -- any moment he could be pointed
out.
CAMERA FOLLOWS THEO TO HIS CHRYSLER
He gets in and lowers the sun visor to partially obscure his
face as he turns the ignition key and pulls out of the
parking space. He makes a quick right into the Ralph's
Market lot and heads out the far exit which will bring him
onto an entirely different street.
He pulls over and turns his attention to the briefcase. He
fishes in his pocket and finds a small Swiss army knife. He
uses one of the blades on the lock -- finally breaking it.
The briefcase snaps open. It's stuffed full of loose money,
fifties and hundreds -- plus a stack of negotiable bonds
bound together in wrappers. An impressive haul. Theo tries
to count it but his head is swimming.
THEO
Some fucking jackpot.
He closes the briefcase but now that the lock's broken it
won't stay shut. It springs back open. He can barely keep
the money inside it.
He looks around, notices an indoor parking facility across
the street.
He drives over, takes an automated ticket -- then pulls up
the ramp.
He drives all the way up to the rooftop parking zone. Few
cars are up here. He's alone.
He pulls into a space.
INT. THEO'S CAR - ROOFTOP PARKING AREA - DAY
He reaches into his glove compartment which is crammed full
of CDs and pushes a button which pops the trunk.
EXT. ROOFTOP PARKING AREA - DAY
Theo gets out holding the attache case tightly shut.
TIGHT SHOT - INSIDE THE TRUNK. Theo wedges the attache case
in next to the spare which manages to hold it in place.
We take casual note of an alternate set of license plates
lying in the trunk -- before Theo slams the lid shut.
ANGLE ON THEO
Looking out from the vantage point of the rooftop at all the
many homes and residences in the distance. And in one of
them Lenore and her family are being held captive.
THEO
Where the hell are you, Mrs.
Oberfeld? And why should I give a
fuck? Especially now.
He tries to figure out what to do. Should he just keep what
he's got and take off? He reaches into the car for his
cellular.
CLOSE UP - CELL PHONE - as Theo dials: STAR 69.
He's ringing back the last number that called him. Finally
the call is picked up. But nobody speaks.
THEO
Don't be afraid to say hello.
Your friend with the recent
transplant is in no condition to
deliver that briefcase. So I've
taken on the task.
VOICE
Who are you?
THEO
Let me talk to the lady again.
VOICE
There's no lady here.
THEO
If you've already killed her
that's fine. I'll keep the bonds
and the cash. We got nothing to
discuss.
VOICE
Hold on.
THEO
If her kid or her old man have
been harmed we've also got nothing
to talk about.
VOICE
Let her tell you.
After a pause a familiar feminine voice is heard.
LENORE
Yes? Yes?
THEO
Hi Lenore. It's me. I got you
back. Courtesy of Star 69. Are
you hurt?
LENORE
They dragged me downstairs. I
thought they were going to kill
me.
THEO
Lucky for them they didn't.
LENORE
What did you do?
THEO
I had a little encounter at the
bank and our Mr. Transplant ended
up under the wheels of a Chevy.
LENORE
God, if he doesn't come back --
THEO
I'm in possession of the bag he
was carrying. And I'm in a
position to negotiate. What about
your husband and your child?
LENORE
They're tied with duct tape so
they can't speak -- but they seem
to be --
The phone is grabbed away from her.
MALE VOICE
(to Theo)
Who are you working for?
THEO
I'm self employed. What kind of
cut did the hairy one have?
MALE VOICE
Twenty percent.
THEO
Fine. I want half. Plus the
release of the family.
MALE VOICE
Whatever you say.
Theo looks over the side of the rooftop -- at the street
directly below.
THEO'S POV - AN L.A.P.D. CAR parked there. CAMERA WHIP PANS
to the concrete stairs which lead up to the rooftop ...
Heavy racing footsteps can be heard. Someone's coming!
BACK TO THEO - hurrying back to his car -- while the
conversation continues.
THEO
You're making it too easy.
MALE VOICE
You got time on your side. Pretty
soon they'll be missed and we'll
have the law up our ass.
THEO
They saw you kill the driver.
INT. THEO'S CAR - ALREADY MOVING
MALE VOICE
You're up on your details, aren't
you?
THEO
You can rely on them to keep quiet
because this is undeclared money
that could land Jack there in
federal prison. He can't afford
for you to get caught and have
this briefcase appear as evidence.
MALE VOICE
Keep talking.
Theo is already careening down the twisting ramp as he
speaks.
THEO
You're walking away with a clear
fifty percent and a guarantee
nobody can afford to I.D. you.
MALE VOICE
There are no guarantees in this
life.
THEO
Granted. But I don't believe
they're grieving enough for their
chauffeur to piss away their own
futures.
Theo pauses to pay the cashier before exiting.
PARKING CASHIER
That's four fifty.
THEO
For ten minutes? Fucking thieves
everywhere.
He pays and pulls off onto San Vincente heading west,
checking the rearview to be certain he's not being followed.
MALE VOICE
Where do we meet?
THEO
It's a nice day. How about the
beach?
MALE VOICE
Pass.
THEO
A large stretch of empty space
with no place to hide. Temescal
Canyon parking lot.
MALE VOICE
What time frame have you got in
mind?
THEO
It should take me twenty minutes.
Where are you coming from?
MALE VOICE
We can be there.
EXT. WIDE SHOT - THEO'S CAR - DAY
Weaving through traffic --
THEO
I want you all in one vehicle.
Your van. If I see anybody else
cruising around I'll keep going.
No second chances. You can kill
them and I'll keep what I've got.
MALE VOICE
Some loyalty.
THEO
There's no loyalty at the expense
of my own ass.
BACK INSIDE THEO'S SPEEDING CAR
THEO
Tell the lady to relax. Tell her
I can't wait to meet her in
person.
MALE VOICE
She's somewhat damaged in the
shipping. But nothing makeup
won't cover.
THEO
Got a phone in that van?
MALE VOICE
Sure.
THEO
Take my number. When you see me
-- call me and I'll walk you
through the exchange. It's
308-9962 -- Repeat it back.
MALE VOICE
308-9962.
THEO
Beats yelling our brains out
across some parking lot.
MALE VOICE
You're getting a lot of mileage
out of that cellular.
THEO
I wish it had never been invented.
HIGH ANGLE - 7TH STREET OFF SAN VINCENTE - DAY
Theo rounding hairpin turns which carry him closer to the
Pacific Coast Highway and the beach.
EXT. PACIFIC COAST HIGHWAY - DAY
As Theo turns and heads up the coast. Camera follows --
A few hundred yards ahead a boarded up fruit and produce
stand is closed for the season.
Theo pulls off the highway and parks behind the stand. He
again pops the trunk using the release button in the glove
box.
He gets out and proceeds to the open trunk.
TIGHTER ANGLE - Theo again examines the overstuffed attache
case that will no longer lock. He flips it wide open, looks
over the loose money spilled out and the bonds secured with
rubber bands. He begins tying the money up with the rubber
bands -- stacking it. Diving it into portions.
He doesn't see or hear the highway patrol car that's quietly
pulling up behind him -- out of focus.
The whoosh of passing cars hides the sound of the prowl
car's arrival.
STILL IN SOFT FOCUS
We see the uniformed officer getting out and approaching.
Then Theo senses he's not alone. He hears the jingle of
keys and handcuffs on the officer's belt.
He turns halfway and the cop is there. The approaching cop
is about thirty and his nametag identifies him as "Grillo."
OFFICER GRILLO
Saw you pull over. Thought you
might have a flat.
The lid of the trunk is still up. Theo casually lowers it.
OFFICER GRILLO
Leave it open.
Theo leaves the lid three quarters of the way shut as he
turns to face the cop.
THEO
Since when did you guys start
changing tires?
OFFICER GRILLO
Only you don't have a flat.
THEO
Seems not.
OFFICER GRILLO
If you weren't going for a spare
what were you doing?
THEO
Something was rattling around.
Some loose tools.
OFFICER GRILLO
Mind if I have a look?
The cop's hand is resting on his revolver.
THEO
Why are you picking on me for?
OFFICER GRILLO
Was I picking on you? How come
you pulled in back of this
fruitstand?
THEO
Tell the truth, I was going to
take a much needed leak.
GRILLO
Now that'd be a misdemeanor.
THEO
I got to get going. An agent is
showing me a house up on Broad
Beach in ten minutes.
GRILLO
They'll wait. Meantime, raise the
lid.
Theo is thinking how Lenore described the murderer of her
driver as a uniformed cop who pulled her over.
Then he sees the cop's police car is identical to the one he
saw opposite the bank and near the parking garage.
THEO
What'd you do? Tail me from
Brentwood?
GRILLO
Why would I do that?
Theo lifts the lid to the trunk all the way up and steps
aside. The cop leans forward for a look.
He sees the attache case jammed shut against the tire. He
also can't miss the extra license plates that lie in plain
view.
GRILLO
Let's have your license, mister.
THEO
I'm going to level with you
officer.
Theo flashes the folder with the phony Treasury Dept. I.D.
which was to be used in the scam.
GRILLO
What's this?
THEO
See for yourself, federal agent,
U.S. Treasury. On the job.
As the confused cop studies the impressive I.D. Theo moves
into action, grabbing Grillo's gun hand so he can't draw the
weapon -- then throwing all his weight against the cop
forcing him close enough to the lid of the trunk to be
struck hard as Theo smashes it down on his shoulder.
Grillo is momentarily stunned and can't recover in time to
avoid the impact of the trunk smashing down again. This
time on the back of his neck.
THEO
Does that answer your question?
He finishes Grillo with two brutal jabs to the jaw. The cop
goes limp.
Theo is alarmed as a car zips by on the highway and the
driver leans on its horn. He fears he's been seen. There's
no time to delay. He lifts the officer's legs and dumps
Grillo in the trunk.
THEO
Seems I've got me a hostage.
He removes the cop's .38 calibre sidearm from its holster.
He grabs the attache case before shutting the trunk and
making sure it's secure.
Some fifty dollar bills fall loosely to the ground as Theo
hurries back to the driver's seat. He doesn't waste time
scooping more than one or two of them up.
He starts the ignition and steps on the gas. He pulls away
leaving the police cruiser parked where it stands behind the
fruitstand.
INT. THEO'S CAR - DAY
He's sweating now. The attache case lies half open across
the seat next to him. The windows are down and the loose
money starts blowing all over the inside of the vehicle.
THEO
Shit!
Theo quickly puts the windows up but the damage is done.
There are loose bills everywhere.
THEO'S POV - THE HIGHWAY
As he passes a mobile home park, he sees the carload that
may have spotted him assault the cop. They're at a pay
phone -- excitedly reporting it. One of them recognizes
Theo's vehicle going by and points.
ANGLE ON THEO
Speeding up.
VIEW THRU WINDSHIELD - TEMESCAL CANYON BEACH TURNOFF
The huge parking lot is coming up on the left. It seems
totally vacant. Not another car in sight all the way up the
beach. No attendant is on duty so Theo simply pulls in and
keeps driving.
There's still no sign of the van.
Theo looks back toward the main highway half expecting to
see a squadron of police cars -- but traffic remains normal.
He sees a wooden shack -- a fast food outlet with large
colorful signs proclaiming "Fried Clams - Fried Chicken -
Ice Cream." It's off season and closed. Only the diehard
surfers can be seen far off shore.
He pulls up behind the concession stand so that his car is
hidden from the highway. He's only visible from the ocean
side.
TIGHT SHOT - INSIDE THE CAR
Theo tries to gather up the money -- flatten it out -- put
it back in stacks and secure it inside the attache case. He
lays the officer's gun down on the seat while he does this.
Then the cell phone beeps. Theo answers quickly.
THEO
I'm here. Where are you?
MALE VOICE
We don't see you.
THEO
I'm three quarters of the way up
the lot behind the concession
stand.
MALE VOICE
Stay there.
THEO
I don't want you within two
hundred feet. Park down by the
lifeguard station. Nobody gets
out.
MALE VOICE
It's your call.
THEO
Fucking "A" it is! Any argument
and I'm out of here.
MALE VOICE
Just relax.
THEO
I don't need to relax. The woman.
Put her on.
MALE VOICE
You'll see her.
THEO
I don't want to see her later. I
want to hear her now.
MALE VOICE
(slightly off)
Talk to the man.
LENORE
Thank you. God bless you for
helping us.
THEO
Are you okay?
LENORE
They wrapped tape around my wrists
and ankles.
THEO
That's coming off. How about the
girl?
LENORE
She's awake but she hasn't spoken.
I don't know what they did to her.
I don't want to think about it.
THEO
Your husband?
LENORE
He's in back. Lying face down.
They haven't hurt him anymore --
but he was crying. I never heard
Jack cry before --
THEO
You're all three of you in that
van?
LENORE
Yes.
THEO
Now you're going to do just what I
tell you to. No discussion. No
hesitation.
LENORE
Yes sir.
THEO
Put the man back on.
MALE VOICE
Satisfied?
THEO
You already tried to pull one
little number on me -- and it
didn't work.
MALE VOICE
I don't know what you mean.
THEO
I still don't see you.
MALE VOICE
We're waiting for the light to
cross the highway. It just
changed. We're in a grey van. It
reads "Noble Carpet Cleaners."
THEO'S POV - There it is. The grey Dodge van circa 1992
with the lettering "Noble Carpet Cleaners - L.A. - Santa
Monica - Marina Del Rey." The windows in back are painted
over.
The van enters the huge empty parking lot and keeps rolling.
THEO
That's far enough. What -- do you
fucking need a written map? Pull
over.
The van stops. There's a huge distance between them. The
negotiation continues over the cellular.
MALE VOICE
We're waiting on you.
THEO
Then just wait. I'm counting this
all out and deducting my share.
While I'm at it you can be getting
that tape off the lady. And her
little girl.
MALE VOICE
It's in the process.
THEO
I make my end of the cash at
184,000. Now I'm trying to figure
out the bonds. What the face
value is.
MALE VOICE
You should've done all this
before.
THEO
I'm not accepting criticism today.
Now don't make me lose count.
There's already a half million in
this portfolio.
MALE VOICE
Her husband said there'd be one
million eight. So nine hundred
to you.
THEO
My pleasure --
MALE VOICE
Be careful in disposing of them.
You'll have to discount 'em.
You'll be lucky to clear a hundred
and a quarter.
THEO
Thanks for the sound advice. Now
ask the woman to get out of the
van and walk over here. Alone.
MALE VOICE
Negative.
THEO
You'll still have the girl and the
husband.
MALE VOICE
And not a nickel.
THEO
Soon as Mrs. Oberfeld is in my car
I'll toss out your first third.
Then I'll back up 200 feet to
behind the public restroom.
MALE VOICE
And then?
THEO
You pull up -- collect your first
installment. Then you let the
daughter go. When she reaches me,
I'll dump out another third. Same
action. I back up again -- you
pull forward. Satisfy yourself
it's there. Then we do it one
last time. The final exchange.
And we go our separate ways.
MALE VOICE
And they run straight to the cops
who start looking for our van.
THEO
I won't let 'em.
Lenore's voice is heard shouting near the receiver.
LENORE
No! Rachel has to go first.
MALE VOICE
I like it better his way.
LENORE
I want my daughter out of here!
MALE VOICE
Reason with her.
THEO
Lenore -- you promised you'd
follow instructions. We're almost
there. Simply get out when they
slide the van open and walk to me.
LENORE
I'm not leaving my daughter
behind. Not with them.
THEO
She's next. In two or three more
minutes she'll be free.
LENORE
I can't do it.
THEO
Don't start thinking about it. Is
the tape off?
LENORE
Yes.
THEO
Can you walk?
LENORE
Yes. But I want Rachel to come
with me.
THEO
They won't allow that. It's one
at a time. And you have to be
first.
LENORE
Why can't it be her?
THEO
She's a child. She might panic.
She doesn't know me. She might
not come to me. She might just
run.
LENORE
All right. Now that you explain
it I see that you're right.
THEO
Once you're in the car with me
she's sure to come to us.
LENORE
I'm sorry. You've thought this
out better than I ever could. I'm
ready now.
MALE VOICE
I'm opening the side door. She'll
step out. But before she gets in
your vehicle I want to see the
first installment put down in
plain view. If it isn't there I'm
shooting her in the back.
THEO
Are you trying to panic the women?
MALE VOICE
That's how it is. You see her
approaching you toss out
installment one.
THEO
I'm tying it up in a bundle now.
Where is she?
THEO'S POV - In the distance across the parking lot the door
to the van slides back. A woman in her thirties can be seen
-- a bit wobbly on her feet. Her dark hair is disheveled,
her clothes askew and she seems disoriented at first. The
bright sunlight blinds her.
She looks back at the van door closing behind her. (The
phone is inside with her abductors. She can no longer
communicate with Theo.)
LENORE
Rachel -- Oh my God.
THEO
(to himself)
Just start walking. Come on.
Walk to me.
Then Lenore begins to walk. Slowly at first. Then picking
up momentum. Until finally she's running.
Theo gets ready with the money and bonds which are held
together by thick rubber bands.
He opens the passenger door halfway in preparation to throw
the loot out onto the ground.
Lenore is still running toward him.
Then she trips and falls.
THEO
Get up.
For a moment she doesn't.
Then she rises and begins walking again.
She has almost reached Theo's car when he tosses the stack
onto the ground where it can't help but be in plain view.
Lenore is only a few feet away by now.
THEO
Open the door and get in. Hurry
up.
She tries the passenger door.
LENORE
It's locked.
THEO
Shit. I'm sorry.
He pushes the unlock button. She slumps in beside him.
It's only this close that Theo realizes she's beautiful.
LENORE
Thank you. Thank you for doing
this.
She leans over and kisses his cheek. Her face is wet.
THEO
Stop the crying.
MALE VOICE
She's yours. What are we waiting
on?
THEO
I'm backing up.
WIDE SHOT - BEACH PARKING LOT - DAY
As Theo backs out from behind the concession stand leaving
behind part of the stash.
He backs several hundred feet -- hiding the car from view
from the highway behind the concrete public restrooms.
INT. THEO'S CAR
He and Lenore watching the van.
LENORE
Rachel was terrified when I left
her. I could see it in her eyes.
THEO
She'll be with you soon. They're
pulling up. They'll realize I
kept my part of the bargain.
LENORE
She'll never be the same. None of
us will.
THEO
Include me in that.
THEO'S POV - THE VAN
Pulling up. The driver's door opens -- the initial package
is picked up.
THEO
(into cellular)
Count it.
MALE VOICE
Don't worry.
THEO
Next I want to see Rachel. Put
her on the phone before she gets
out so her mother can tell her
exactly what to do.
(to Lenore)
Keep her calm. Tell her you're
fine and that she can join you in
this car.
But Lenore has noticed something on the seat next to Theo.
LENORE
You have a gun?
Theo covers the mouthpiece of the cell phone so the
abductors won't hear.
THEO
Now I have -- it's a long story.
LENORE
Why didn't you just shoot them?
THEO
Because a lot of people would've
gotten killed. Probably all the
wrong ones.
LENORE
You're going to let them get away
with this?
THEO
We've almost got your husband and
your daughter out. So don't get
any ideas.
LENORE
They tortured us. And you're
going to let them have all that
money?
THEO
So far they're keeping their part
of it.
LENORE
They put their hands all over me.
THEO
Somehow I got along better with
you on the phone.
(into cellular)
It's all there isn't it?
MALE VOICE
Seems like it.
THEO
Put the girl on.
Without warning Lenore reaches out and grabs the gun off the
seat.
THEO
Don't be stupid. Put it down.
Lenore has a funny smile on her face.
THEO
For Christ sakes don't point it at
me. We want to get Rachel out of
there in one piece.
(into cellular)
I'm waiting for the girl. Her
mother wants to talk to her.
LENORE
Hand me the phone.
Theo keeps looking down the barrel of that police special.
LENORE
Hand it to me.
He passes her the phone.
LENORE
(into cellular)
He had a gun. I have it now.
THEO
Why are you telling him that. Are
you crazy?
LENORE
The rest of the money is here in
the car. Why don't you come and
get it?
MALE VOICE
Yeah. Why don't we?
THEO
What are you planning to do when
they got here? They'll kill us.
They'll kill Rachel.
LENORE
I doubt that very much.
(a beat)
Because right about now she should
be doing pirouettes at dance
class.
THEO'S POV - The van is starting to roll toward him.
BACK TO THEO AND LENORE - who still has the gun pointed at
him. The full impact of her words is like a slap across the
face.
THEO
You're not Lenore Oberfeld.
LENORE
There isn't any such person.
THEO
Whose money is this?
LENORE
It belongs to the man you took it
from. Or should I saw stole it
from?
THEO
The guy with the transplant.
LENORE
Jack Oberfeld in person. Did you
kill him?
THEO
Damned if I know.
LENORE
The video cameras will put you
with him in the bank, and I'll bet
there were enough witnesses.
THEO
At least one.
LENORE
Plus they'll remember you going
after his daughter at school.
THEO
You timed that beautifully.
LENORE
They always pick Rachel up early
on Thursday.
THEO
I got what I fucking deserved. I
had it all. I could've kept
going!
LENORE
As they say -- no good deed goes
unpunished.
THEO
And all that crap about your
driver being murdered by a cop --
LENORE
I thought it was inspired.
THEO
There was no cop involved. Oh
shit! Fuck!
He realizes he assaulted a real L.A. cop on the job. Maybe
that cop is awake in the trunk and can hear what's going on.
But she doesn't know that.
LENORE
Sit completely still with both
hands on the wheel -- until they
get here.
THEO
Why pick me to be your "mark?"
LENORE
Nobody's easier to con than a con
man.
THEO
You knew about me.
Suddenly there's a violent thumping inside the car. The
vehicle is shaking. Lenore has no idea what it is. Theo
knows immediately.
It's the cop locked up in the trunk. He's conscious and
trying to bust his way out.
The distraction causes Lenore to glance toward the rear of
the vehicle -- and it gives Theo the chance to clip her
across the jaw. With the other hand he twists the gun out
of her hand -- even as she is able to fire off one shot. It
singes Theo's hair leaving a powder burn across his scalp
and shatters the side window.
The van has pulled to a stop six feet ahead of Theo's car.
Two men inside are halfway out. A large powerful linebacker
and a Haitian with braided hair.
Before they can completely emerge, Theo's foot hits the gas.
His car plows straight into the van stunning both me.
Lenore has slumped to the floor of the car as Theo struggles
to back up. He's hooked onto part of the torn wreckage of
the van.
The larger man inside the van recovers and tries to fire --
but the clip jams. By the time he slams the clip straight
Theo is backing away into a hairpin turn.
Several shots are now fired at the departing Chrysler.
TIGHT INSERT SHOT - TWO BULLETS PUNCTURE THE TRUNK -- which
holds the unfortunate cop. There's a SCREAM!
WIDER SHOT - Theo smashes through a low barricade and plows
down a hillside onto the beach. In a moment he's driving up
the Temescal beach -- a totally illegal route -- but the
quickest getaway path. An old man flying a kite dashes out
of his way.
There's a ramp up ahead down which beach cleaning equipment
may gain access. One such large orange vehicle is just
accessing the beach.
Theo leans on his horn. The sanitation dept. vehicle pulls
up short just avoiding a head-on smashup with Theo who
speeds by and up the ramp -- heading back toward the Pacific
Coast Highway.
INT. THEO'S CAR
Lenore still lies on the floorboard along with some of the
bonds and the money.
Theo has the gun in his right hand as he steers with his
left. The cell phone is on the seat.
The thumping from the trunk continues.
LENORE
Who's in back?
THEO
L.A.P.D.
LENORE
Shit. You couldn't be in much
worse shape.
ANGLE ON VAN
Battered but fully operable -- in pursuit.
INT. THEO'S CAR - DAY
The phone conversation between Theo and those in the van
remains open. Theo's hands are occupied with the wheel and
the gun which he holds on Lenore in an effort to make her
behave.
THEO
Your friends are probably still on
the line. Pick it up and say
hello.
LENORE
There's no way out for you. You
have to deal with us.
THEO
Assure them that you're being well
treated.
Lenore finally lifts the cellular and speaks.
LENORE
Nels, are you there? Hello, is
anybody there?
The thick voice we've become accustomed to hearing comes on
the line. (Now we'll call him by his actual name: NELSON.)
NELSON
I thought you said you could
handle him.
LENORE
I'm doing fine. Theo wants to
deal.
THEO
Tell them I'm keeping what's left.
I earned it. I probably killed
some poor bastard for it.
LENORE
He seems to think he's entitled to
it all.
THEO
Not all. They already have a
third. The question is how much
of that are they willing to give
to get you back?
LENORE
You won't shoot me. That's not
your style.
THEO
We might hit a bump and the gun
might go off. Ever see that
Tarantino movie -- where Travolta
blew that guy away in the back
seat -- purely by accident?
LENORE
Do you have to point that?
THEO
Absolutely. And Topanga Canyon
has a hell of a lot of potholes if
I recall.
LENORE
He seems to be headed for Topanga.
THEO
I'm not trying to lose them. Nor
am I exceeding any speed limits.
LENORE
The one thing you don't want is to
attract the police.
THEO
Granted, the cops are not an
alternative. Certainly not with
one of their own still locked in
my trunk.
LENORE
I don't hear him moving around
anymore.
THEO
Those shots your associates got
off may not have done him too much
good. That's on their head. All
I did I was put him there.
LENORE
A typical fuck-up.
THEO
What's that supposed to me?
LENORE
I knew you were a loser the first
night I laid eyes on you.
THEO
You, I would've noticed.
LENORE
Oh no, you were too busy trying to
keep some Croatian from slapping
the shit out of his girlfriend.
She showed her gratitude by almost
taking your eye out with her
spiked heel.
THEO
You were at the Emerald that
night?
LENORE
Naturally you didn't learn your
lesson.
THEO
I guess I ought to stop seeing
woman as victims.
LENORE
I think it was my tone of voice
more than anything else that sold
you. And when you thought I was
being kicked around, I wish I
could've seen your face.
THEO
You're enjoying this too much.
Theo squeezes the trigger -- pumps off a shot into the seat
beside her.
It's the sound of the shot inside the enclosed vehicle that
shocks her. She SCREAMS.
THEO
Now you're starting to sound like
a victim again.
LENORE
You could've hit me.
THEO
Only in the leg or the thigh.
You'd live but you just wouldn't
wear shorts.
LENORE
You wouldn't --
THEO
Yes I would. Not kill you. But
blow off a few toes, absolutely.
I'm entitled to that as
retribution. It'll help you to
remember me in years to come --
every time you put on stockings.
They must have prosthetic toes by
now -- with little nails on them
you can polish --
LENORE
Stop talking like that!
THEO
Then scream for me. A repeat
performance. Let me see how easy
you can turn it on. Scream! I
want to hear you scream for me!
Lenore fakes the first two screams but then they become more
real as she focuses on the gun bouncing around in his hand.
Her final screams are not act.
Nelson's voice is heard over the phone.
NELSON
What's he doing? Answer me!
THEO
Better reassure him.
LENORE
(into cellular)
I'm still okay.
THEO
Inform him the fee is seventy-five
large for your return. All parts
intact.
LENORE
He wants 75 back.
THEO
Plus names, addresses and I.D. for
the lot of you. We're in this
together and I need to know who my
partners are. In case I ever need
to roll over on somebody.
LENORE
Did you hear that?
THEO
Let me talk to him. Hold the
phone to my ear -- but don't nudge
me.
Lenore holds the phone up so Theo can continue driving with
his left hand while holding the gun in his right.
THEO
Who am I talking to?
NELSON
Call me "Nels."
THEO
Okay Nels, you can always keep
what you've got and haul ass
leaving the lovely lady for me to
worry about. I'll bet she can be
friendly when it's in her best
interests.
NELSON
If you're looking for a quickie
all you've got to do is ask.
THEO
I think I've already had a
"quickie." Thank you.
Now Theo makes a sharp tight turn off P.C.H. onto Topanga.
THEO
Follow me across Topanga.
Theo looks in the rearview and sees the van directly behind
him.
EXT. PACIFIC COAST HIGHWAY - TOPANGA AREA - DAY
CAMERA PANS TO REVEAL - Highway patrol officer in his car --
reporting in.
MOTORCYCLE COP
Vehicle matching description 1995
Chrysler convertible maroon wanted
in connection with missing
L.A.P.D. officer. Has turned
north onto Topanga. Two
passengers. One believed to be
female. Request backup. License
number G47495J.
BACK INSIDE THEO'S CAR
He hasn't told anyone he fears being spotted by the police
but he regularly checks his rearview mirror.
HIS POV - REARVIEW MIRROR
Watching the van following but not too close.
ANGLE ON THEO'S CAR - DEEP IN THE WINDING CANYON
THEO
These mountains kill the
transmission. He's gone.
(beat)
How's it feel to finally be alone
with me?
Theo is deliberately making dramatic turns that toss Lenore
around as she continues to stare at the loaded gun.
LENORE
Use both hands on the wheel!
Goddam it!
HER POV - THE TWISTING CANYON FLASHING BY
Rock slides after recent storms have narrowed the road.
TIGHT ON THEO
In total control of the situation now. He's been
manipulated long enough. Now he's pulling the strings.
Then he hears a SIREN. It echoes off the canyon walls. It
could be coming from any direction.
THEO
It could be a fire. This is
Malibu.
LENORE
No, there's a police car way back
there. See it, in the distance
coming around the turn? The van
is blocking it now.
THEO
What's Nels' number?
LENORE
259-7881.
THEO
Dial him up. We need him to run
interference.
Theo watches as she dials -- and since they're much higher
in the canyon now the call goes through.
LENORE
(into phone)
Nels, don't let that cop pass you.
NELSON (V.O.)
What am I supposed to do?
She again holds the phone so Theo can speak.
THEO
If he pulls me over he gets all
the proceeds plus Lenore here.
NELSON
And if you ditch us we get zilch.
THEO
Sure, I end up with some cash.
And a lot of bonds I don't know
how to dispose of.
ZOOM IN - TIGHT ON REARVIEW
We can clearly see Nelson at the wheel and the Haitian
beside him.
THEO
You're going to have to see to it
that both lanes of this road get blocked.
NELSON
The fuck I will!
THEO
It's in your interest, Nels, since
the additional passenger in my
trunk -- an LAPD officer is
probably carrying a few bullets in
him traceable to the piece you're
carrying.
(to Lenore)
Tell the man.
LENORE
Lose the hardware now.
NELSON
We'll toss it when we make the
blind curve.
EXT. WINDING ROAD - DAY
Narrowed by the rock slide. As the van hits a blind spot
where the cops won't see, the Haitian throws a canvas bag
holding the guns out into the canyon underbrush.
BACK TO THEO, LENORE
THEO
(into phone)
You researched me. You know where
I live. She'll be waiting for you
there along with your split.
NELSON
There's two police cars now.
THEO
Tailgate me. I'll jam on the
brakes. You go into a spin to
avoid an accident and cut them
off.
NELSON
You want us to get ourselves
killed?
THEO
From what I can see you're a
pretty fair wheelman. There's a
hairpin coming up -- that's the
place for it. The cops'll plow
right into you.
NELSON
And I end up in a fucking neck
brace for life!
THEO
Then you can sue the cops.
Collect from both ends. Tighten
your belts. Here it comes.
(to Lenore)
Ready?
LENORE
(yells into phone)
Nels, do what he says!
EXT. MOUNTAIN ROAD - DAY
As Nelson's van now speeds forward to tailgate Theo's
Chrysler. Behind the van the two police cars now appear
around the curve, sirens blasting.
They're reluctant to try to pass on these twisting
rock lined roads with traffic coming around blind curves
from the other direction. And there's nowhere to pull over.
Then Theo jams on the brakes. The van veers to the left to
avoid total disaster plowing into the canyon wall and
blocking both lanes.
The first police car can't avoid hitting the van broadside.
The second police car rearends the first.
It's a total pileup as Theo predicted -- a perfectly
orchestrated accident.
Then a camper coming from the Valley approaches and passes
Theo -- rounds the bend and compounds the accident --
smashing into the disabled van from the opposite side.
Nelson and his Haitian friend are sandwiched between wrecks.
Meanwhile Theo speeds on ahead.
INT. THEO'S CAR - DAY
Theo watching in rearview. Lenore is turned around, looking
back.
LENORE
Do you think they'll walk away?
THEO
Ask them.
He passes her the cell phone.
LENORE
(into cellular)
Are you okay? Nels -- answer me!
NELSON'S VOICE
Muthafuck! My shoulder hurts like
a bitch. Rodriego puked all over
himself. Here come the cops. I'm
laying the phone down.
We can hear what's been said, distant but understandable.
COP'S VOICE
Are you guys all right?
NELSON
You could've killed us.
COP'S VOICE
It was the fugitive in the
Chrysler that caused this. We
were trying to overtake him.
NELSON
No reason to kill innocent
bystanders. Shit. I can't hardly
move my neck.
COP'S VOICE
We've already got an ambulance on
the way. Don't try to get out.
NELSON
I'm not staying in here with him
puking all over the place. Get
this door open!
Theo and Lenore concentrate on the road ahead.
LENORE
They'll have units blocking us up
ahead.
THEO
That's why we're turning off onto
a fire road.
LENORE
Some people fall apart in a pinch.
But you shine.
EXT. MAIN ROAD - DAY
As Theo veers off onto a dirt road kicking up dust.
INT. THEO'S CAR - DAY
Lenore still listens in on the cellular. There are many
voices but they're impossible to decipher. Static, noise.
THEO
What's happening?
LENORE
I can't hear. Now there's a
siren. They must be in an
ambulance.
(into phone)
What about the money? Nels?
THEO
Wonderful feeling of security
knowing your adversaries are both
crippled and unarmed.
LENORE
(into phone)
The money, Nels ... ?
NELSON
(through static)
In the backpack with me --
Then he fades out. She's lost him.
He takes the cellular away from her.
THEO
I'm learning to love this little
invention.
The car plows through backroads that have become overgrown.
LENORE
Any idea where you're going?
THEO
I was sentenced to a youth camp
out here when I was fourteen. We
cleared some of these same roads.
LENORE
They did some great job of
reforming you.
THEO
That's where this Chicano
correctional officer first taught
me to slap paint on a canvas. I
could copy any fucking thing he
put in front of me.
LENORE
Think you could do a picture of
me?
THEO
I had it in my mind what you'd
look like. "Her," I could've
painted. You, I'd be afraid to
turn my back to mix the colors.
Theo is now turning off down a construction road leading
into a partially completed residential project. Several
small Spanish style home have been left unfinished.
Construction gear stands gathering rust. Theo pulls in and
shuts off the ignition.
THEO
Developer ran out of money years
back. I'd hate to think about
what's living in there.
LENORE
Why are we stopping?
THEO
I need a break. I've been on a
marathon run ever since I had the
misfortune to strike up a
conversation with you.
He removes the ignition key. Taking the gun, he gets out of
the vehicle to stretch his legs. She follows. He has
placed the cellular in his pants pocket.
TRUCKING SHOT - Lenore -- as she catches up with him and he
pauses to look her up and down with an artist's eye. Her
fragile beauty camouflages her true nature.
THEO
Who'd ever think, to look at you?
LENORE
As a child I hated being told how
sweet I looked. That angelic
little face wasn't me at all. I
had to hurt people to prove to
them they had the wrong image.
Sometimes words were enough -- but
I wasn't beyond inflicting
physical pain in order to be taken
seriously. I enjoyed seeing the
shock on their poor faces when
they realized who I was. That
same look you gave me when I
turned the gun on you.
THEO
You've had a lot of fun with me
today.
(a beat)
What would you have done if I
hadn't responded to your call?
LENORE
We had a backup plan. But I knew
you'd come through for me.
She presses up against him. He reaches up with his left
hand and caresses her breast.
LENORE
Like steering, it's better if you
use two hands.
But Theo has no intention of relinquishing the .38.
THEO
Yeah, I was waiting for that
suggestion.
LENORE
Sooner or later you'll learn to
trust me.
THEO
How about "later?"
She kisses him with an open mouth. He accepts the kiss but
gives absolutely nothing back.
THEO
What's really on your wicked
little mind?
LENORE
The cop in the trunk -- he could
still be alive.
THEO
That's a reasonable possibility.
LENORE
He might've heard everything we
said in the car.
THEO
What's your point?
LENORE
We can't leave him to repeat
anything.
THEO
Which one of us is elected to do
the deed?
LENORE
You're the man with the gun.
THEO
Naturally.
LENORE
Naturally.
THEO
Maybe your friends already
accomplished that chore for us.
LENORE
Only one way to find out.
Camera follows them as they cross towards the parked vehicle.
The trunk is facing them -- with its two bullet holes quite
evident.
He tosses her the keys.
THEO
Unlock it.
Lenore inserts the key in the trunk and steps back as the
trunk pops open.
THEIR POV - the L.A.P.D. officer is alive and unhurt as he
squints up at them. The burst of sunlight bothers his eyes
but the bullets have missed him entirely.
WIDER ANGLE
THEO
Come on, Grillo, climb out.
Officer Grillo doesn't speak. He looks from Theo with the
gun to the pretty woman that accompanies him.
LENORE
(to Theo)
What are you waiting for?
The cop obediently climbs out of the trunk. He moves
slowly, with great effort. Being cramped up in there has
been painful.
GRILLO
Lady, don't let him do it!
THEO
You got it wrong. I'm the one
that's on your side.
GRILLO
You almost brain me and lock me in
a fucking trunk and you're on my
side? You stupid fuck!
LENORE
He's seen both of us now.
GRILLO
Look, I've got a wife. I don't
care if either of you ever get
caught.
LENORE
What else did you expect him to
say? Do it, Theo -- or give me
the gun.
THEO
I'm going to cuff you and leave
you in that house. It may take
awhile but you'll be found after
we're long gone.
LENORE
That's not good enough.
THEO
That's how it's going to be.
At that moment the cell phone in Theo's pocket rings.
THEO
Nels reporting in.
(to cop)
Sit down where you are. Arms
folded.
GRILLO
Yes sir.
Theo answers the phone.
THEO
Yeah?
NELSON (V.O.)
I just strolled out of the
emergency room while they were
admitting Rodriego.
THEO
You couldn't be calling at a worse
time, Nels.
LENORE
If he was here he'd know what to
do! Let me talk!
She reaches for the phone, he pulls it away.
THEO
I'm handling it.
LENORE
(shouting into
cellular which Theo
still holds)
He let the fucking cop out -- but
he won't --
As Lenore distracts Theo for an instant Grillo tosses a
handful of dirt up into Theo's eyes.
At the same time Lenore makes a grab for the gun.
The cell phone is dropped as the three of them struggle over
the weapon.
NELSON (V.O.)
What the fuck's coming off?
The cop wrestles the gun from Theo's grasp -- then stumbles
backwards covering both of them.
Lenore breaks out into laughter -- like some kind of
uncontrollable release.
THEO
Glad you're having a good time.
But she continues laughing. The cell phone lies in the dirt
halfway between them and Grillo.
Keeping the gun leveled on Theo, the cop crouches down and
picks up the phone. He speaks.
GRILLO
Nels? You asshole. You almost
nailed me inside that trunk.
Shit, that was close.
CLOSE SHOT - THEO
As the realization hits him. He wasn't wrong about the
officer after all. The cop was in on it just as Lenore
described on the phone.
WIDER SHOT
NELSON (V.O.)
How the fuck would I know you were
in there?
Grillo turns to Lenore --
GRILLO
It took you long enough to get my
ass out.
LENORE
With all those holes Nels pumped
in I knew you wouldn't suffocate.
GRILLO
You can tell she was really
worried about me.
Lenore walks over to the cop and plants a kiss on him as
Theo looks on -- a numbness rapidly overtaking him.
GRILLO
(to Theo)
I told you I had a loving wife.
Lenore and the officer make a chilling couple.
GRILLO
In case you crapped out it was my
job to go after that briefcase.
THEO
Or relieve me of it later.
GRILLO
Only I was sloppy. I let you take
me out. That was quite a
humiliation.
Grillo now retaliates by clubbing Theo several times with
the barrel of the gun.
Theo goes down and is smart enough to stay down.
NELSON (V.O.)
Don't fuck around. Pop a cap in
him.
LENORE
Allow me.
Theo sees what's coming but he's down on his knees in a
clearing with no place to run.
Her husband passes Lenore the gun. She can't help but hit
him at such close range.
LENORE
Hold the phone out so Nels doesn't
miss the show.
Lenore takes careful aim.
LENORE
In appreciation for services
rendered, I'll make it quick.
TIGHT ANGLE - LENORE
As she fires. One solitary shot. (We don't see Theo who is
on the ground off camera.)
LENORE
(into phone)
He took it like a man.
(to Grillo)
Toss him in that drainage ditch.
NELSON
There's a taxi stand here. I can
meet you.
As Grillo continues listening camera swivels 180 degrees.
We expect to see Theo's body lying sprawled and bloody.
NELSON (V.O.)
Only be careful nobody "makes"
that Chrysler.
GRILLO
It's only a few miles and our
friend was thoughtful enough to
bring spare plates.
LENORE
We're switching plates now.
Instead of a bloody corpse we see Theo kneeling where he was
before -- without a mark on him.
Lenore has fired the shot entirely for Nelson's benefit.
She's conning him just as she conned Theo.
GRILLO
(to Nelson)
See you at the canyon house.
Grillo hangs up. After a silence Theo finally speaks.
THEO
You missed.
GRILLO
(to Lenore)
Any time you decide to let me in
on it.
LENORE
You nearly fucked up your end so
keep quiet. Get him busy on those
license plates.
At gunpoint, Theo is forced to kneel down, remove the plates
and replace them with the ones lying in the trunk.
He uses the same small Swiss army knife with which he broke
open the briefcase.
While Theo works at it, Lenore and Grillo confer in hushed
tones out of his earshot.
LENORE
I prefer to have the sucker die at
a more convenient location. Once
Nels arrives with his backpack
full of goodies.
GRILLO
So Theo and Nels will appear to
have whacked each other out and we
never existed. A thing of beauty.
Jesus, the shit you come up with!
Theo finishes the license plate switch, turns to face them.
GRILLO
Peg that knife into the bushes.
Theo obeys tossing the Swiss army knife away.
GRILLO
Now turn around. I'm going to
cuff you.
LENORE
Put those away. We can't have
marks on his wrists.
GRILLO
You never miss a trick.
LENORE
I'll see that he stays calm. Pack
the money up and put it in the
trunk.
There's no question about who's calling the shots here --
Officer Grillo gathers the loose money and bonds and stuffs
it all in the broken attache case before depositing it back
in the trunk.
Lenore forces Theo into the passenger seat in front. She's
positioned directly behind him -- the gun at his head.
LENORE
Want to try taking it away from me
again?
Grillo gets behind the wheel, starts rolling.
GRILLO
How do we get back to the freeway?
THEO
Bear right till the fire road
ends. It's not far.
He reaches out toward the glove compartment. Then he feels
extra pressure from the gun on the back of his neck.
LENORE
Both hands on your lap.
THEO
Nothing but CDs in there. I
thought maybe you'd like some
Celine or Whitney.
Grillo reaches over and opens the glove compartment,
spilling out dozens of CDs at Theo's feet. He's satisfied
there's no weapon in there. The glove compartment remains
open.
GRILLO
I'd like for you to shut up for
awhile.
The fire road now widens and down below they can see the
freeway -- busy now with afternoon traffic. Grillo
continues driving down, finally approaching the on-ramp.
THEO
Yeah, I suppose getting whacked
has got to be one of your best
ways to die. Particularly if
you're not expecting it. You
don't know what hit you.
GRILLO
Can you make him stop!
THEO
Mind letting me make the best of a
rotten situation?
EXT. VENTURA FREEWAY EAST ENTRANCE - DAY
As Grillo drives down the on-ramp and joins the traffic.
INT. THEO'S CAR - DAY
THEO
Just sitting here listening to her
voice does it to me all over
again. No harm admitting I fell
in love with the sound of you.
LENORE
That's a skill you acquire when
you do fantasy phone sex for a
living.
I must've had thirty regulars
salivating at 4.99 per minute.
GRILLO
Which is how we hooked up
initially. The woman nearly
freaked when she learned I was on
the force. Figures it was some
kind of sting.
They are in speeding freeway traffic now. Lenore is keeping
the gun out of sight of motorists in the adjoining lanes.
THEO
Some nice fantasy you all cooked
up for me.
LENORE
Took preparation.
THEO
Exactly who was this Oberfeld?
LENORE
Local lawyer for Dominican
dealers. Off to buy a half
interest in a mall in Granada
Hills on their behalf.
GRILLO
Which is why we had a lot more to
worry about than the law. These
are people who don't worry about
reading you your rights.
THEO
I'm the one they'd be looking for.
LENORE
And we'll make certain they find
you.
They're interrupted by the ringing of the cellular. Is it
Nelson calling again?
THEO
Want me to answer it from beyond
the grave?
Lenore pokes the gun against his neck before answering.
LENORE
Yes?
It's Caitlin's voice that comes on.
CAITLIN
What are you doing on Theo's line?
LENORE
Taking messages.
CAITLIN
He ran out on me to be with you?
Well fuck him! Everything worked
twice as good without him. We
didn't need him then and I don't
need him now.
LENORE
I'm sure he'll be heartbroken.
CAITLIN
I know he's there! He doesn't
even have the balls to pick up the
phone!
LENORE
I won't let him. He belongs to me
now. Bye, sweetie.
She hangs up.
But Theo hasn't been idle during the exchange on the phone.
He's casually reached into the now empty glove compartment.
THEO
Know what else is in here?
LENORE
Take your hand out of there.
Slowly.
Theo does not obey the command.
THEO
There's a little button under my
finger. And when I push it the
trunk pops.
Grillo reaches out and grabs Theo by the throat. He
continues guiding the vehicle with his left hand.
INSERT SHOT - TIGHT ON THEO'S FINGER
On that tiny button.
THEO
Think about what's going to happen
to your valuables when that trunk
flies open at 75 miles per?
BACK TO THREE SHOT IN CAR
LENORE
You won't live to see it.
THEO
It's going to be some fucking
snowstorm.
LENORE
Pull over! Pull over someplace.
GRILLO
I can't.
They're in the center lane and cars are racing along on both
sides of them.
GRILLO
I told you I should've cuffed him.
THEO
I want the gun emptied. I want to
see all six slugs tossed up here.
And then I want out. That's all.
OUT!
EXT. THE FREEWAY - DAY
Cars speeding along at better than 70 mph.
BACK INSIDE
CLOSE ON the police service revolver flipped open so the
bullets can be removed.
Lenore spills the cartridges out in her hand.
LENORE
Five ... six.
THEO
Toss them -- one at a time. I
don't want to lose count.
She tosses the bullets over his shoulder onto the floor of
the front seat -- so Theo can clearly see them.
He's still bent forward with his hand inside the glove
compartment -- pressed against that crucial little button.
EXT. FREEWAY - HIGH ANGLE - DAY
Construction ahead. The lanes will soon converge. Traffic
will decrease to a virtual standstill. Once traffic slows
or stops Theo's threat become meaningless.
INT. THEO'S CAR - DAY
Theo realizes traffic is slowing. He's got to act now.
He's bent forward so Grillo doesn't notice that he's
reaching under the seat with his free hand.
Just as he pops the trunk he uses all the force in his legs
and all his body weight to slam the seat back -- straight
into Lenore's face.
The impact is quick and violent.
She's struck in the nose and forehead and propelled
backwards.
QUICK CUTS
The trunk pops open.
The loose cash and bonds in the broken attache case flutter
and take flight.
As Theo predicted it's a snowstorm of cash and negotiable
instruments.
WIDER SHOT - THE FREEWAY - DAY
As bills of high denominations waft through the air landing
upon and sticking to the windshields of other vehicles.
The door to Theo's car is flung open. He's trying to jump.
MULTIPLE SHOTS - Other drivers in their cars reacting to the
appearance of cash money on the opposite side of the glass.
It's money they can't reach. They're going at better than
60 mph now and the dough is on the outside of their
windshield. Some nearly lose control and veer into other
lanes.
INT. THEO'S CAR - DAY
The front passenger door flung wide open. Grillo panics.
His fortune is blowing to hell. Lenore, in back, is still
recovering from the blow to the head.
Grillo still has a firm grip on Theo who's attempting to
bail out. Theo elbows Grillo, stunning him.
The excavation ahead and the converging lanes have forced
traffic to slow to the 40's -- as Theo breaks loose and
jumps.
ANGLE ON THEO'S BODY
Hitting the surface of the freeway and rolling.
Other vehicles are coming at him --
But he rolls out of their path and into the excavation that
has narrowed the lanes at this section of the freeway.
He lies there on his back wondering if any bones are broken.
He aches all over -- but he's alive.
WIDER SHOT - FREEWAY - DAY
A few cars and a trailer truck have pulled to a stop.
Motorists and the truck driver rush out to the aid of the
man they saw fall from the car. (The trucker is a thickly
built Greek.)
They crowd around Theo.
MOTORIST
Talk to me!
TRUCKER
Trying to commit suicide, Mister?
Theo has to think of some response.
THEO
Reach into my inside pocket.
You'll find I.D.
The motorist finds the folder with the fake badge.
FIRST MOTORIST
Shit. He's a federal agent.
THEO
U.S. Treasury. On the job.
FIRST MOTORIST
If I knew you were a tax man I
would've run over you.
2ND MOTORIST
Hope you know how close you came.
THEO
I been accident prone all day.
FIRST MOTORIST
This have anything to do with the
money I thought I saw flying all
over the fucking freeway?
THEO
Not allowed to discuss it.
TRUCKER
I already called for an ambulance.
THEO
You've got a phone?
TRUCKER
Doesn't everybody?
That's the magic word to Theo. He starts to get up.
THEO
I need a ride. Help me up.
2ND MOTORIST
Better wait for assistance.
THEO
Just give me a hand. See, I can
walk. Hoist me up in there.
They all help Theo into the cab of the truck.
INT. TRAILER TRUCK - DAY
Theo looks at his hands. They're raw, having been badly
scraped when he hit the freeway. His pants and jacket are
torn at the knees and elbows.
THEO
This was once a brand new Armani.
The Greek trucker climbs behind the wheel.
TRUCKER
You ought to be examined.
The truck is already in motion.
EXT. THE FREEWAY
The bottleneck ahead has opened up. The trailer truck
barrels on ahead.
THEO IN TRUCK
He sees something of interest ahead.
THEO'S POV - FROM SPEEDING TRUCK
There in the emergency lane to the far right is Theo's
Chrysler pulled over.
Lenore and Grillo are out and leaning inside the trunk,
trying to organize and secure what's left of their booty.
It seems it's not all gone.
BACK ON THEO
Amused. He reaches for the trucker's phone.
THEO
Can I make a quick call?
TRUCKER
Government business?
THEO
Very official. 259-7881, if I
recall.
He dials. Nels answers instantly.
NELSON
Yeah?
THEO
Nels! Guess who? A friendly
voice from beyond the grave.
NELSON
Who's this?
THEO
I thought you'd know me by now.
NELSON
What does it take to kill you?
THEO
I suppose you're in your taxi?
NELSON
Why would she want me to think you
were on ice?
THEO
Intelligent question, Nels. I
believe she had plans for both our
bodies to be found in close
proximity.
NELSON
That bitch. What's keeping you
from taking off?
THEO
My compensation! Somebody still
owes me -- big time!
TRUCKER
(who's been listening)
What kind of Treasury Dept.
business is this?
THEO
(covering phone
mouthpiece)
Undercover.
TRUCKER
I thought so.
THEO
(into phone)
Your partners are currently armed
and we're not. Our edge is that
they don't know we're in touch.
NELSON
I can see the benefit in that.
THEO
You could always disappear with
what's already in your backpack.
NELSON
Not without the name of the
contact who can discount the
bonds. I may need to pry that
information out of her.
(a beat)
What do you stand to gain?
THEO
Sweet revenge plus maybe a bit of
vigorish off your end.
TRUCKER
The 405 is coming up.
THEO
(to Nelson)
Where is this canyon house where
you're supposed to hook up?
NELSON
In the hills above Sunset. Just
below the Getty.
THEO
(to trucker)
Take the 405 south.
EXT. FREEWAY - DAY
The truck veers onto the 405.
INT. TRUCK - DAY
THEO
(into phone)
How far off are you?
NELSON
Five minutes.
THEO
Where do I turn?
NELSON
Take the Getty Center exit -- make
a right onto Cisco. It'll be a
narrow winding road. You can't
miss the house. It's a mansion
built back in '29 -- Spanish --
boarded up since the quake.
THEO
Have your cab wait at the foot of
Cisco -- we'll ride up together.
NELSON
And make ourselves a hell of a
target.
THEO
We're gonna get there first.
NELSON
How do you know?
THEO
Believe me. They couldn't be
busier at the moment.
Theo hangs up.
TRUCKER
I didn't hear nothing.
The truck barrels along.
EXT. GETTY EXIT OFF 405 FREEWAY - DAY
As the truck pulls off and takes a sharp right turn. The
Getty Museum looms majestically above.
INT. TRAILER TRUCK - DAY
THEO
Look for Cisco.
From inside they now see a taxi parked about fifty feet up a
narrow side road. The truck pulls over.
THEO
(to trucker)
Let's have your name and address.
The government will want to send
you a letter of commendation.
TRUCKER
Who the fuck you kidding?
(he jots down an
address)
Send me money!
The Greek trucker hasn't believed a word of Theo's Treasury
Dept. bullshit. Theo climbs out of the truck, not without
severe discomfort.
TRUCKER
You sure know how to take a lot of
punishment.
THEO
From here on, I dish it out.
The truck pulls off as Theo hikes up the road to the waiting
taxi cab.
Nelson gets out to greet him. They've talked on the phone.
Nelson has tried to kill him. They've engaged in a car
chase. But they've never formally met.
THEO
Hello criminal, pleased to meet
you.
Nelson gives Theo a quick frisk to make sure he's clean.
THEO
Better haul ass if we're gonna be
inside to greet them.
NELSON
I've got a couple of spare pieces
stashed under the floorboards.
THEO
Where's the backpack?
NELSON
None of your business, but it's in
the cab. That's all mine. When
we take from them, we divide,
eighty-twenty.
THEO
At those prices I'd just as soon
your cabbie didn't get a look at
me.
Nelson returns to the cab, pays the driver and returns with
the backpack.
Theo turns away so the taxi driver can't identify him as he
pulls off.
Then he and Nelson double time it up the hill to the
dilapidated Spanish mansion.
CAMERA FOLLOWS
Theo looks up at the massive Getty Museum which dominates
the hillside above.
THEO
Probably as close to the Getty as
I'll ever come. Unless you care
to be my "patron," Nels. You
wouldn't be the first successful
thief to become a patron of the
arts.
NELSON
In your dreams.
THEO
Don't underestimate me. I've got
original ideas of my own. Warhol
got famous doing a soup can. What
would you think of a cellular
phone done in acrylics?
NELSON
Are you busting my chops or what?
As we draw closer we get a better look at the house. The
earthquake has left it rather lopsided. There are cracks
evident in the pillars in the front portal. Tiles have
fallen off the roof. The lawn is totally overgrown and ivy
has invaded the house. Some windows are broken but most are
boarded up tight.
NELSON
Once was a palace.
He proceeds to the boarded up entrance -- pries the thick
planks apart to gain access to the door. He and Theo slip
through avoiding long rusty nails which jut out. Nelson
carefully replaces the boards, squeezing them back together.
INT. SPANISH MANSION - DAY
Totally deserted.
The only furniture left is a ratty old sofa and a few beach
chairs. There's no electricity in operation and the covered
windows allow little light. It may as well be night.
There's a gaping hole in the floor that Theo nearly steps
into.
THEO
Somebody better tear this down
before it falls down.
NELSON
Stay put! I know my way around.
Nelson proceeds carefully up the cracked marble staircase to
the second level.
Nelson disappears into the darkness above.
ANGLE ON NELSON - WITH THEO VISIBLE DOWN BELOW
Nelson kneels, pulls up what's left of a threadbare rug to
reveal the once luxurious maple floor. Several planks are
easily pried up and Nelson reaches in and retrieves one of
the weapons which have been left here for safekeeping. It's
a .45 Glock automatic. The clip is already loaded.
He replaces the rug, then opens his backpack and takes out
his own cell phone which he speed dials. Lenore picks up.
LENORE
Nels?
NELSON
I'm still in my cab -- jammed up
in traffic. Are you there yet?
LENORE
Any minute.
NELSON
I was worried about you. Both of
you.
LENORE
We've had our share of fuck-ups
but it's going to work out fine.
NELSON
Give me 20 minutes at least.
He hangs up, stuffs the phone into the backpack, then
crosses to the stairs and descends. Theo awaits him.
THEO
Who were you talking to?
NELSON
Them. They won't be expecting us.
THEO
Brilliant -- unless they were
close enough to see the cab pull
away. In which case you just
warned them.
NELSON
Nobody can do anything right but
you!
Nelson jacks a cartridge into the chamber of the Glock.
Obviously Theo is not to be trusted with a weapon.
NELSON
First thing they'll see when they
walk in is you. And while they're
wondering how in hell you got here
-- I will be picking Grillo off
from behind the staircase.
Theo claps his hands in mock applause.
THEO
I'm in awe.
NELSON
Following which we will have a
serious question and answer
session with your girlfriend.
There's the sound of an automobile coming up the road.
Lenore and Grillo are making their arrival. We hear them
park.
Theo and Nelson silently await their entry through the
boarded up front door.
Moments later they're heard prying away the boards Nelson
recently replaced.
Nelson, still carrying the backpack, withdraws into the
shadows beneath the staircase with the Glock ready to open
fire at Grillo.
He motions Theo to move into the center of the entry hall --
where he can't be missed. He'll be spotted immediately.
The boards are being pulled loose. The door is opening
inward. But nobody steps inside.
Instead two quick shots ring out.
Nelson staggers out of his hiding place dragging the
backpack in one hand and sprawls face down on the cracked
marble floor -- blood oozing out of him.
He's been shot from behind. His .45 automatic is still
gripped in his trembling hand.
Theo realizes that either Grillo or Lenore must've come in a
back way -- while the other directed Nelson's attention to
the front door.
No one's shooting at Theo yet. Maybe he can't be seen from
the shooter's vantage point -- and nobody expects him to be
here.
Nelson raises his head a few inches from the floor. He's
looking straight at Theo.
Then with the last bit of strength left in him he skitters
the gun across the slick marble floor -- directly to Theo
who makes a dive for it.
Then the front door swings wide open -- as Grillo rushes in.
It must be Lenore -- behind Theo in the dark -- who fired
the fatal shots.
Grillo spots Theo going for the gun.
GRILLO
Lenore -- look out!
Two more shots spray the marble inches away from Theo -- as
he grabs the automatic and fires blindly in return.
Grillo rips a heavy plank with rusted nails away from the
doorway and makes a mad dash at Theo who's still sprawled on
the floor.
Theo stops him with one shot before Grillo can strike a
lethal blow.
Grillo tumbles backwards and lies motionless --
Theo fires wildly into the darkness again as he inches
forward and reaches out for the strap of the backpack.
Grasping it, he retreats to cover as a bullet aimed at him
strikes the backpack instead.
Theo gets to his feet and stumbles down the long hallway.
There are half a dozen other rooms on this first level.
Plenty of places to hide in the pitch dark.
But Lenore also has many hiding places and she must know the
layout of the house better than he does.
CAMERA FOLLOWS Theo from one vacant room to another --
through what once was a huge kitchen. All the appliances
have been ripped out. Windows everywhere are boarded up --
blocking out the light. The floor groans under his weight.
CLOSE UP - LENORE'S HANDS
She's leaning over Officer Grillo's body, taking spare
cartridges from his belt and reloading.
BACK TO THEO
Waiting in the darkness. An idea flashes through his mind.
He opens the backpack, locates Nelson's cellular phone.
Once again a cell phone may be crucial to his fate.
He steps out into the corridor again. The floor creaks as
it did before advertising his progress.
CAMERA MOVES FORWARD WITH THEO
There are half a dozen doorways ahead -- on both sides.
She could be anywhere.
A few more steps forward -- then he pauses. Stays
absolutely still.
She's heard enough of the creaking to draw her to him.
It's nearly pitch black in that narrow hall.
If he can't see her then she can't see him.
He's ready to put the cellular to use.
EXTREME CLOSE UP - CELL PHONE
As Theo punches REDIAL.
WIDER SHOT
As in the darkness another cell phone begins to ring.
(Theo guessed right. Lenore is still in possession of the
cellular that once belonged to him. The cellular Nelson
dialed only minutes ago.)
The ringing in the dark pinpoints Lenore's position exactly.
Theo empties his weapon in the direction of the ringing.
There's a scream. Several flashes as Lenore's gun goes off
-- as we hear her fall.
Then just the constant unnerving sound of the cellular
ringing.
Theo waits. Then he hears her.
LENORE'S VOICE
Oh God -- Oh no -- Help me --
Don't let me -- Die.
THEO
Didn't we play this scene before?
LENORE'S VOICE
Don't leave me here to die --
Theo, please -- you can't let me
die --
THEO
I'm afraid I've used up all my
good deeds for the day.
There's another gunshot fired by her -- a wild shot that
blows a hole in the stucco wall inches away from Theo's
head.
Then the sound of the gun clattering to the wood floor. A
gasp. Then only the continuous ringing ...
After a moment Theo approaches her body. He's still
dragging the backpack beside him.
He kicks the .38 away from her cautiously before
ascertaining that she's no longer any threat. She won't
live much longer. But she can still speak. The phone lying
beside her keeps ringing.
LENORE
I picked the wrong number when I
chose you ... didn't I?
THEO
Turns out you did me a favor.
You're looking at a rich man.
LENORE
-- The phones, Theo. Don't leave
any of them behind. The cops
could pull up a record of all our
calls and -- find you.
Even lying there losing blood she's still trying to call the
shots.
THEO
You are some control freak, lady.
He bends over and retrieves his own cellular, flipping it
off before dropping it in the backpack along with Nelson's
phone.
LENORE
I've got ... one last number for
you, Theo ...
THEO
I don't want it.
LENORE
My fence in San Francisco ...
305-4410. Maurice. Don't take
less than a third on the face
value of those bonds.
THEO
Sure, like I'm gonna take advice
from you.
LENORE
I told you ... sooner or later
you'd have to trust me ...
She raises her hand and Theo grips it tightly. He can see
she's slipping away.
THEO
You know, I meant what I said
about falling for your voice.
Through the pain she forces an odd smile.
THEO (Cont'd)
Now just say goodbye.
But she isn't saying anything more. She releases his hand.
Her head slumps to the side. She's dead. He looks at her
for a long moment -- sadly -- before leaving her there.
INT. ENTRY HALL
Theo pauses by Grillo's body and searches his pockets. He
finds his own car keys.
EXT. THE OLD SPANISH HOUSE - DAY
As Theo emerges and crosses to his Chrysler, peers inside --
THEO'S POV - THE MONEY, THE BONDS - THE ATTACHE CASE
All where Lenore and Grillo left them on the seat.
WIDER SHOT - IN CAR
As Theo stuffs everything of value into the backpack and
tosses it on the floor next to him.
He starts the engine and backs out.
He executes a turn and heads back down the hill.
He doesn't look back.
EXT. THE ROAD STRETCHING BELOW THE GETTY MUSEUM - DAY
As Theo drives safely away.
INT. THEO'S CAR
He hits Sunset and keeps going.
After a moment he reaches over into the backpack and
retrieves his own cellular for one final call. He dials
411 --
THEO
(into phone)
Information -- I need a number for
the United Airlines shuttle to San
Francisco.
It seems he's taking Lenore's advice after all. But the
call is interrupted by a shrill beeping.
The battery has finally run out.
Theo looks down at the phone fondly.
THEO
I take back every rotten thing I
said about you.
The much despised cellular which got him into this -- has
gotten him out of it and made him rich.
The phone continues beeping plaintively as he smiles at it
with a warmth reserved for old friend who's shared a lot of
grief and whose time is now up.
THEO
You did good. Get some rest.
Theo kisses the cellular lovingly -- then flips it off.
CLICK! SILENCE!
BLACKOUT
THE END