NEXT
Written by
Gary Goldman
Based on "The Golden Man"
Written by
Philip K. Dick
May 14, 2004
BARE WHITE ROOM
Thirty feet square. CRIS JOHNSON, wearing a jail uniform,
sits in a HEAVY CHAIR that is bolted to the floor. Mid-
twenties, jaded, rebellious, handsome as a statue, Cris
radiates a serene, if somewhat scruffy, charisma.
He faces a PLASMA SCREEN MONITOR on a bare wall. To the left
of the screen, an unframed MIRROR; to the right, a DIGITAL
CLOCK-CALENDAR.
A WOMAN'S FACE appears on the plasma screen. CALLIE FERRIS.
Thirty. Tailored. Angular. Kate Hepburn-ish.
Ferris on monitor
Mr. Johnson, you've been sent to us
by the state authorities for
testing. We want to determine if
there's any substance to your
claims.
CrIS
Fire away.
FERRIS ON MONITOR
If we can verify your ability, we
may be able to help you avoid a
criminal trial.
CRIS
And "we" is...?
Ferris ON MONITOR
Homeland Security.
Ferris' face is replaced on the plasma screen by a series of
random video clips. Hang-gliding. Traffic jam. Volcano
erupting.
Ferris ON MONITOR
Now if you would, please look at
the monitor and tell us what you
see, say, five minutes from now.
Cris looks at the clock. 16:32 / March 9, 2006. He squints
and the clock speeds up a little.
Ferris (o.c.)
Are you there yet?
In a few seconds, the clock reads 16:37.
2.
On the monitor. Ferris' image has been replaced by footage of
surfers riding big waves in Hawaii.
CrIS
Surfers.
Ferris (o.c.)
Good. Now can you move ahead ten
minutes.
Varied images fast forward on the plasma screen. He arrives
at 16:47 and reports on what he sees.
cris
Ants crawling up a tree.
Ferris (o.c.)
Excellent. Can you get to 1900
hours?
Cris looks ahead and squints.
CLOCK
Minutes whiz by.
PLASMA SCREEN
Clips play and change almost too fast to be recognized.
Clock
Cris gets to 19:00 -- and keeps going.
Mirror
Cris has a five o'clock shadow.
Clock
Hours tick off like an accelerating metronome.
Mirror
Cris sports a three-day stubble. He struggles to get out of
the chair, but he is now strapped into it, bound at the wrist
and ankle. His face fills with rage.
Plasma screen
The evening news zips by. Talking heads. Reportage.
3.
Mirror
Like a window into a time machine. Cris' beard lengthens. He
grows pale. His clothes change every few seconds. Rage gives
way to the panic of a man trapped on a runaway train.
Plasma screen
The news dissolves into a blur.
Mirror
Cris ages before his own eyes. Wrinkles etch into skin. Hair
greys, recedes. Outrage ebbs into hollow resignation as Cris
watches himself waste away.
Woman's voice
Sir...Sir?
Cris' tired old eyes look up, confused.
INT. VEGAS HOTEL COFFEE SHOP - DAY
A perky young WAITRESS stands over him, holding a pot of
coffee.
WAITRESS
Warm-up?
On cris
Young again.
CRIS
Just the check.
She sets it on the table with a flirtatious smile. He takes
it to the register and pays cash.
Cris (V.O.)
"The future ain't what it used to
be." Ever hear that expression?
A moment later, A SECOND CRIS follows the first Cris to the
register, repeating his every movement.
CRIS (V.O.)
It's a joke, but it's true. The
future changes every time you look
at it. Because you looked at it.
As Cris 2 pays cash, Cris 1 proceeds into the casino.
4.
CRIS (V.O.)
Cause once you see it, you're
different.
Cris 2 follows, literally walking in Cris 1's footsteps.
CRIS (V.O.)
Maybe just a little.
A DRUNK bumps into Cris 1 and spills his Daiquiri on him.
CRIS (V.O.)
And that changes everything else.
Cris 2 -- the real Cris -- follows a moment later and
sidesteps the Drunk, who spills his Daiquiri on someone else.
CRIS (V.O.)
It's got something to do with
quantum physics.
Cris 2 reaches the gaming tables and merges with Cris 1.
Cris (V.O.)
That's why I stay away from
roulette and craps. It only takes a
millionth of an ounce to change a
roll. Just placing a different bet
can throw things off.
A roulette ball skitters indecisively between two grooves
before settling into one of them.
CRIS (v.O.)
I've got other rules, too. I don't
play against people, like at poker.
Only against the house.
Slot machines. Horse racing. Sports games.
CRIS (v.o.)
And my goal isn't to win big. At
least not any more. The idea is to
go unnoticed so I can keep coming
back to the trough.
He passes the MILLION DOLLAR SLOT. Stops, like it's calling
out to him.
5.
CRIS (v.o.)
So no jackpots. No longshots. No
big bets except when I want `em to
see me lose.
Cris notices a DESPERATE GAMBLER on the verge of tears.
Clearly, he's dropped a bundle. Cris approaches him and
points to the MILLION DOLLAR SLOT.
CRIS
Try that one, man. I've got a
feeling.
Gambler
(suspicious)
Then you play it.
CRIS
Against my religion.
Cris offers the guy a handful of silver dollars.
CRIS
Do it, quick, before somebody else
gets there.
While the Gambler dawdles, a MIDWESTERN DOWAGER plants
herself at the MEGA-SLOT and starts feeding it dollars.
Cris sighs and walks off.
The Gambler watches him go, then reacts to BELLS, FLASHING
LIGHTS, and SHRIEKS OF CELEBRATION. The Dowager has hit the
MEGA-JACKPOT.
Blackjack section
Cris takes a stool at a crowded table.
CRIS (V.O.)
Mainly I stick to blackjack. Boring
but controllable.
Cris antes up. Cards are dealt. He's got a four showing.
Taking a hit, he goes bust with a jack. So in real time, he
sticks.
CRIS (V.O.)
And safe unless they think you're
counting.
6.
The dealer turns over his cards. He's got a king and a deuce.
So he has to draw. Pulls the jack. Busted.
The dealer pays Cris, then presses a button under the table.
INT. SURVEILLANCE ROOM
Banks of video monitors display images from the multitude of
cameras looking down from above the gaming tables. The
SURVEILLANCE SUPERVISOR, HAWKEYE, repositions in response to
a red light so he can look over a Surveillance Operator's
shoulder and study Cris.
INT. office of casino boss - DIFFERENT CASINO - DAY
The Stalin-faced CASINO BOSS sits behind his desk.
casino boss
If you don't mind my asking, why
does Homeland Security give a damn
about who's lucky in Vegas?
He's talking to Callie Ferris. We recognize her sardonic
beauty from the plasma screen in Cris's pre-vision. In
person, she's edgy, confident, and impatient with those who
aren't as quick as she is.
Ferris
Maybe they're more than lucky.
casino boss
Then we handle it.
Ferris
I'm not talking about cheating.
That's your problem. But if
somebody wins consistently and you
can't figure out how...Excuse me.
She answers her cell phone.
Ferris
Ferris...I'll be there in fifteen.
She stands, disconnects, and hands the Casino Boss her
business card.
FERRIS
Call me, like they did. And try to
hold him till I get here.
7.
Casino boss
Yes, ma'am.
She's already out the door.
Video monitor: close on cris
Relaxed. Playing blackjack. The FEMALE DEALER tries not to
gawk at him as she deals from a shoe.
Ferris (o.c.)
Nice looking guy.
davis (o.c.)
I guess.
Pull back: surveillance room
Ferris and DAVIS, the casino's dapper CHIEF OF SECURITY,
stand behind Hawkeye, the Surveillance Supervisor, and study
Cris on various monitors.
Ferris
Maybe she's in cahoots.
davis
He's beaten six dealers in a row.
ferriS
You're sure he's not counting?
hawkeye
We've got five decks in the shoe.
And he wins more off the top than
the bottom.
davis
Moves a lot from table to table.
On a monitor, Cris pockets some of his chips.
hawkeye
Keeps his stacks short.
On another monitor, A COCKTAIL WAITRESS takes orders from the
players.
WAITRESS
What's your pleasure?
CRIS
Grand Dad, rocks.
8.
Ferris
What's his name?
davis
(shrugs)
Not staying here. Pays in cash.
Hawkeye
We're running him through face
check.
As Ferris watches Cris on the monitor, he becomes still and
attentive, as if sensing danger. He squints a little, the way
we do when we try to remember something.
Ferris
Invite him for a drink.
(remembers her manners)
If you don't mind.
INT. CASINO/BLACKJACK TABLE - DAY
As Cris signals for another card, TWO BLACK SUITS appear
behind him.
black suit (o.S.)
Sir, would you come with us,
please.
Cris takes in their grim faces. Turns to see two more pairs
of goons stationed nearby.
SNAPBACK to:
Thirty seconds ago
The COCKTAIL WAITRESS approaches to take Cris' order.
WAITRESS
What's your pleasure?
This time, Cris hurriedly scoops all his chips into his coat
pocket, jostling the Waitress as he stands.
CRIS
Scuse me, sorry.
Hustling away, he glances back just as the first TWO BLACK
SUITS reach his stool, but this time it's empty. They look
around. One of them whispers into his mike. The three pairs
of goons get instructions and split up.
9.
Tracking shot / eye level
Cris strides crisply through the casino. Sees another PAIR OF
BLACK SUITS, scanning for him. He ducks into the maze of
slots. Zigs and zags from aisle to aisle, seemingly at
random. A moment after each turn, a Black Suit appears ahead,
behind, or to the side - where they would have spotted Cris.
Tracking shot / high angle
A clearer perspective as TWO BLACK SUITS approach Cris' aisle
from different directions. Cris has no way to see them or
know they're coming, but at the last moment, he MOVES in
between two aisles where neither guard will see him as they
pass.
surveillance room
Davis and Hawkeye wince as the Black Suits keep missing their
quarry.
davis
What's wrong with you guys?
hawkeye
He's right next to you! Aisle 63!
Ferris watches the chase, fascinated.
Phalanxes of slot machines
Black Suits converge from various directions, in that fake-
calm fast-walk.
Cris studies the gamblers playing the machines nearby, then
heads to a particular spot - where he is sure to be spotted -
except that a TEXAS-SIZED MAN repositions himself, blocking
the Black Suit's view.
The Black Suit moves on. Cris shifts to another spot just as
a different Black Suit arrives at the other end of the aisle.
This time, THREE FRAT BOYS change machines and obscure Cris
from his gaze.
surveillance room
Davis is throwing a fit.
Davis
There! There! He's right there in
front of you! Walk toward each
other!
10.
Cris slips away in the shadow of the Frat Boys.
hawkeye
Maybe he's on our frequency.
DAVIS
I don't see an earphone on him.
hawkeye
He's heading to the Convention
Annex.
FERRIS
(stands)
Give me a headset. I'm going down
there.
Convention annex
Arriving at the foyer, Cris sees Five Meeting Rooms. He
squints then decisively enters one of them.
FOUR BLACK SUITS arrive an instant later. Without wasting a
beat, each of them goes through a different door. All except
the one Cris went through.
Cris re-emerges a moment later and heads back toward the
casino.
Casino
Ferris, arriving, adjusts her headset.
Cris sees her. Recognizes her from his prevision as the woman
on the plasma screen. Turns and walks away.
She sees Cris. Takes off after him.
Ferris
(to head mic)
He's heading toward...
(reads sign)
the Ipanema Grill.
Security Staff converge on the area. Cris is in plain sight.
Suddenly a busload of tourists surge in through a door and
clog the way.
Cris continues into the...
11.
Kitchen area
Passing a room service cart, he rolls it in front of him. A
few steps on, he takes the bottle of OLIVE OIL on the cart
and pours some in front of one random closed door. Cris then
shoves the room service cart down the hall toward an empty
intersecting corridor. A Black Suit barrels into the empty
intersection just as the cart arrives - and tumbles over it.
Behind Cris, a door swings open; a Black Suit charges out;
steps precisely into the puddle of poured olive oil - and
falls on his ass.
Cris slips by him, but gets cut off by an arriving group of
FOUR MORE BLACK SUITS. Big guys. They try to grab him. He
evades their grasp almost magically and, like a Shaolin Monk,
somehow leverages them into each other until they are in a
pile on the floor. Cris darts around them into the...
Lobby
He co-opts a luggage cart that is loaded up for delivery.
Rolling it to the left, a Black Suit on that side doesn't see
him - and moves on. Cris switches to the right side of the
card - just as a second Black Suit would have seen him.
Abandoning the cart, Cris sets off across the lobby in a
herky-jerky rhythm.
He walks four quick steps without being seen. Then stops
behind a column just as Black Suit 1 turns his way. When
Black Suit 1 looks on, Cris resumes his journey, cutting
across the lobby at an acute angle. In this way, he avoids
being seen by Black Suit 2. Cris now backs up three steps and
avoids being seen by Black Suit 3.
By precisely choosing his movements and knowing where his
hunters will be looking, Cris achieves something like
invisibility.
The last obstacle to daylight is Ferris. She sees him. He
makes a run for the door. She dashes after him.
FERRIS
You! I just need to talk to you!
Cris grabs a guest's suitcase and keeps moving.
FERRIS
Homeland Security!
12.
The guest chases after Cris - and collides with Ferris,
knocking her to the ground. Which allows Cris to slip through
a door to the...
Ext. Hotel loading dock - DAY
Where TWO LAUNDRY DELIVERY MEN are flinging sacks of clothes
into the back of a truck. Cris steps toward the open tailgate
with a steady pace. As if on cue, both Laundry Guys turn and
bend to pick up another sack of clothes. Cris walks right by
them without being noticed -- and climbs into the truck. A
moment later, the Laundry Guys pivot back around, toss sacks
of clothes in after Cris, and slam the rear doors. They get
in the truck and drive off just as Ferris, Davis, and several
Black Suits arrive to find a cold trail.
davis
You were right. This guy is a lot
more than lucky.
Oddly, Ferris seems almost encouraged.
ferrIS
At least now I know he exists.
INT. DEPARTMENT OF HOMELAND SECURITY - las vegas regional
OFFICE - nIGHT
Ferris strides purposefully through hallways crowded with
people hustling just as urgently as she is. She enters the
large ante-room of a bigshot's office and addresses JEANNIE,
a civil service secretary.
Ferris
Jeannie, I have to see him right
away.
Jeannie
He's on with Washington. We just
went on Code Orange.
Ferris
What's the threat?
JEANNIE
We found a dirty bomb in East
Vegas. A barrel of C-4 and a kilo
of nuclear waste. But we're getting
chatter about a dozen more out
there somewhere, ready to blow.
Ferris absorbs the catastrophic news without emotion.
13.
Ferris
Tell him I have a new source that
could help with the case.
JEANNIE
(snide)
Another remote viewer?
Ferris stares her down.
Ferris
Have him meet me in imaging.
Leaves without waiting for a response.
ext. picnic in park - Day
Cris and a glowing YOUNG MOTHER hold a BABY BOY. Gazing into
the baby's eyes, Cris beams with perfect happiness. He plays
with the baby's fingers. The two middle ones are subtly
WEBBED BY A PIECE OF SKIN that comes about halfway up the
bottom knuckle. The image whites out as...
INT. LAUNDRY TRUCK - DAY
Sunlight pours into the back of the truck, revealing Cris
lounging on a mound of laundry sacks. He composes himself and
steps out, nonchalant as James Bond.
CrIS
Thanks, guys. Not too heavy on the
starch.
Computer simulation
The pursuit of Cris through the casino has been mapped into a
3-D visualization. Multiple camera angles have been merged so
that a single POV seamlessly follows Cris without cutting.
It's clear that Cris avoids trouble before he sees it.
male voice (O.s.)
You pulled me out of a conference
call with the Secretary to show me
a video game?
INT. IMAGING lab - DAY
ERIC WISDOM, 38, stands next to Ferris as they watch the
simulation on a flat-screen monitor. Highly competent,
solidly masculine, Spencer Tracy to her Hepburn, you can rely
on him in your average emergency. Which this is not.
14.
FERRIS
I need six men to bring him in.
WISDOM
We're on Code Orange.
Ferris
He could help us find the other
bombs.
WISDOM
That's an ultra low probability.
None of your "specials" have ever
panned out, and this isn't the time
to experiment.
Ferris steps close to Wisdom.
FERRIS
Come on, Eric, you saw it. We're
flying blind and he's got radar.
Wisdom steps away from her.
WISDOM
Callie, people are talking. They
say I'm only funding your research
because we're involved.
FeRRIS
That's because they're....
WISDOM
Right.
Ouch.
WISDOM
I'm sorry, but they're right.
FERRIS
You bastard.
WISDOM
I care about you, and I wanted to
support you. But there's a limit to
what I can...
FERRIS
(professional)
Look, we analyzed what this ability
would look like if it existed.
(MORE)
15.
FERRIS (cont'd)
I went screening for it in a highly
scientific way. And now I've
identified someone who matches all
the indicators. So the next obvious
step is to...
wisdom
Let me do my job! - Christ! Don't
you ever quit?
FERRIS
No.
(beat)
I've got a country to protect.
He finds her both infuriating and irresistible.
WISDOM
Use your charm on somebody else.
He stalks out of the room, leaving her more thwarted than
sad.
DRIVER'S POV: TRAFFIC IN VEGAS
An elevated freeway. Driving behind a pick-up truck carrying
a mattress and box spring.
Cris (v.O.)
I'm not God. I don't see
everything. Just my own future.
Ext./INT. Cris' car - DAY
Cris drives an old Camaro, muscle-y but inconspicuous.
Cris (v.O.)
To me, it seems normal. The way
lightning comes before thunder.
Cris changes lanes to get from behind the truck.
CRIS (V.O.)
Most of the time, I'm not paying
attention. Just making sure I don't
step in a mess.
In his rearview mirror, Cris sees the mattress fall off the
truck, causing an accident.
16.
CRIS (V.O.)
Sometimes I get a blast from far
away.
He sees a plume of smoke in the distance.
CRIS (V.O.)
Or I can start with a glimpse of
something close and keep pushing
on.
He takes the next exit.
CRIS (V.O.)
Usually it's none of my business.
He turns into the parking lot of a bookie shop, THE FINISH
LINE.
INT. The finish line - DAY
Cris walks to the counter. Addresses the manager.
CRIS
Guy around?
MANAGER
You are?
CRIS
Tell him it's King Midas.
INT. homeland security regional hq - internal security office
- DAY
TERRY BAINES, plainclothed HEAD OF PROTECTIVE SERVICES for
the Facility, walks down the corridor with three of the
better-trained MILITARY POLICE who have been brought in to
augment the regular staff of civilian FEDERAL PROTECTIVE
SERVICE POLICE. Baines is a handsome former Special Forces
Lieutenant, early-forties, who takes his work very seriously.
Ferris runs to catch up with him. He doesn't slow down for
her.
FERRIS
Terry? Terry! - I know you've got
your hands full but I was wondering
if you might be able to spare a few
warm bodies for an outside
operation.
17.
She gives him a look. There's some mutual attraction, but not
a lot of affection.
BAINES
We're strictly internal.
FERRIS
That's why I need your people.
Everybody else is assigned.
BAINES
Does Wisdom know about this?
FERRIS
He suggested it.
While Baines arches a dubious eyebrow, an intellectual junior
analyst, AMANDA, catches up with Ferris.
AMANDA
Callie.
(corrects herself)
Agent Ferris. I've got a face match
on your subject. His name is Cris
Johnson.
Ferris takes Amanda's PRINTOUT and glances at it on the run:
it's a PHOTO of Cris on a WANTED BULLETIN.
fERRIS
(slows to a stop)
Never mind, Terry. Pretty Boy here
is wanted for murder in Nevada.
She hustles off with Amanda.
INT. BACK ROOM AT THE FINISH LINE - DAY
A smoky office with a big screen tv and a poker table, but no
card players. Cris is greeted by GUY, relaxed, professional,
smartly dressed, mid-forties. He's classier than the joint he
runs.
Guy
Well, if it isn't the Golden Man.
A look, a hug. A lot of history.
Guy
What brings you crawling back to
me?
18.
CRIS
I need to cash some chips. - Got
tagged.
He starts setting them in stacks on the poker table.
GUY
You burned through your stash
already?
CRIS
I've been trying to lay low.
INT. State police STATION - dAY
Computer monitor on a desk plays Cris' escape from the
casino.
CavANAUGH (o.s.)
That's him. I call him the Road
Runner. You know? Beep beep.
LT. CAVANAUGH, middle-aged hunter type, beer belly but still
a menace.
Ferris
What's he running from?
Cavanaugh takes a videocassette from a pile on his messy
desk.
CAVANAUGH
You showed me yours. I'll show you
mine.
He pops the tape into a VCR. Presses play.
On the monitor
Low-quality security camera recording of a liquor store at
night. Business is good. FIVE PEOPLE wait in line at the
register. Time code reads November 11, 2004. Cris walks in,
unsteady on his feet. Heads for the beer locker. Pauses.
Suddenly runs toward the register at full speed and TACKLES A
CUSTOMER, shoving him hard to the floor. Cris prepares to
hold him down, but the tackled man just lies there, a pool of
blood forming under his head. Cris looks up. The customers
are gaping at him, terrified.
19.
CRIS
(slurred)
He was gonna kill you! You all
would'a died!
Cris sees that they're afraid of him, not the dead man. He
runs out. PAUSE TAPE.
Back to scene
Cavanaugh studies Ferris' reaction.
INT. BACK ROOM AT THE FINISH LINE - DAY
Guy finishes counting Cris' chips.
Guy
But you of all people. How could
you have let it happen?
CRIS
That was the night Donna broke off
our engagement.
GUY
Ahh.
CRIS
I was so drunk I could barely see
now.
Guy opens a drawer, takes out a pack of a hundred $100's, and
counts out an additional sum from his pocket.
GUY
Well, I hope you don't mind. I
called Neal to let him know you're
here.
CRIS
Christ, Guy, did you have to?
GUY
You say everything's inevitable, so
I guess I did.
Guy returns to his antique copper espresso machine and starts
to make two cups.
CRIS
Well, you can save your breath.
Cause I know what you're gonna say.
20.
GUY
Then you're aware that Neal is in a
serious cash crunch and could lose
it all.
CRIS
I'm sorry to hear that. But I'm
done playing the market.
While Guy is distracted making espresso, Cris jams the desk
drawer shut with a penny.
GUY
Neal's got it all worked out. He'll
fly you out of the country on his
jet. Put you up in style. He pays
taxes, totally legal. You get cash,
squeaky clean. Half the net. When
your share hits fifty mil, you can
say "finito"...and it's over.
CRIS
Except last time, Neal didn't take
"finito" for an answer.
Guy slams his fist.
GUY
You need us, asshole! The Law is
breathin' down your neck!
CRIS
I can stay ahead of `em forever.
GUY
But why live that way?
CRIS
Because I don't want to be used any
more.
GUY
What do you give a shit as long as
you get what you want?
CRIS
Cause what I want is freedom. And
you don't get it by giving it up.
Guy calms himself and sets an espresso in front of Cris.
21.
CRIS
Enjoy it while it lasts.
Cris picks up the cup and knocks it back.
Ext. finish line - Parking lot - DAY
Cris starts up the car. Notices he's woozy. He prepares to
back out. Instead he blacks out -- as Guy and THREE MEN drag
him out of the car.
SNAPBACK TO:
Guy's office
Guy sets the cup of espresso in front of Cris, who picks it
up. But Instead of knocking it back, he sets it down and
grins cryptically at Guy, who senses something and reaches to
open his top desk drawer - the one Cris pennied shut. Guy
can't get it open. Guy reaches under his Racing Form. Feels
around. Cris holds up a knife.
CRIS
Looking for this?
Guy pulls his arm from under the Racing Form -- spilling the
cup of espresso that Cris just set down. Guy knows that's not
a coincidence.
CRIS
Don't mess with somebody who knows
your moves before you even think
'em.
Cris takes his cash.
GUY
The jet'll be sold in a week. Then
there goes your ticket out.
CRIS
Don't wait for me.
Cris heads out.
Guy
You know what I think? I think I
know the future better than you do.
Cris scoffs as he leaves.
22.
INT. State police STATION - dAY
Cavanaugh pours coffee for himself and Ferris.
CAVANAUGH
He's just some gambler. Lives
completely off the grid. No bank
account. No credit cards. No
previous record.
Ferris
So why'd he do it?
CAVANAUGH
Must be a wacko. He'd never met the
victim. No connection whatsoever.
Ferris tries to make sense of it all.
feRRIS
And in fifteen months, why haven't
you caught him?
Cavanaugh sighs woefully.
CAVANAUGH
You saw. He's got eyes in the back
of his head. He can see around
corners. I even had him in custody
once, and he disappeared.
Ferris
Must be very embarrassing.
A painful subject for Cavanaugh.
CAVANAUGH
And what is it you want him for?
Ferris
Questioning.
CAVANAUGH
About?
Ferris
Stuff that hasn't happened yet.
Cavanaugh nods knowingly.
23.
CAVANAUGH
Well, I guess Homeland Security
trumps liquor store murder. How can
I help?
Ext. Suburban home - las vegas - niGHT
A tract house, cheap, from the 60's, could be anywhere.
Something sad about the place. Cris stands at the door,
holding a bag of groceries. IRV, a sick old man, opens the
door, wearing a knit cap and pajamas. He's hooked up to a
little oxygen tank on wheels. When he sees Cris, his smile
crimps the tube in his nose.
IRV
What are you doing back here?
CRIS
I came to fix you dinner.
IRV
Idiot.
Irv pulls Cris inside. Closes the door.
INT. irv's house - night
They embrace like father and son. The oxygen tube gets in the
way.
IRV
This is what you get from two packs
a day.
CrIS
But you quit ten years ago.
IRV
It was already too late. I just
didn't know it.
CRIS
Sometimes not knowing is better.
Irv shakes his head.
IRV
Look where you're headed, pal. The
big decisions are over before you
even realize you made `em.
24.
INT. The finish line - back room - night
Cavanaugh and Ferris chat with Guy. This time the poker game
is in progress.
CaVANAUGH
Any idea where he might be going?
Guy turns to Ferris.
GUY
I've got a little problem with the
IRS. Think I could get some relief?
FERRIS
Depends how helpful you are.
GuY
Oh, I know everything about him.
He looks at Ferris, knowing. She turns to Cavanaugh.
FERRIS
I need to speak to him alone.
INT. FINISH LINE - MAIN PARLOR - NIGHT
Guy and Ferris sip cappucino.
GUY
And another thing, no woman ever
turns him down, I'm serious. Mainly
because he only propositions the
ones he knows'll say yes, which is
most of `em anyway. But does that
make him happy? No. Says he's
bored. Never surprised. Has to
watch himself die over and over
again.
FERRIS
Why'd he come back to Vegas?
GUY
Didn't say, but I'm guessin' it's
this friend who's dying. An old
fart who took him in when he was
strung out on drugs. - He's an
orphan, ya know. Been on the road
since he was ten.
25.
INT. Irv's house / living room - night
The place is a mess. Piles of newspapers. Old clothes. Cris
cleans up as they talk. Irv sits at a table and plays
solitaire.
IRV
You want my advice? Get yourself a
good lawyer and turn yourself in.
CRIS
If I tell `em the truth, you know
what happens? I end up with the
Feds. - And you know what they do
to me?
IRV
Make you a secret agent.
Cris
Don't laugh. They strap me in a
chair and make me watch the news.
IRV
Dan Rather or Peter Jennings?
CRIS
It's not funny, Irv. That's all I
do, day after day, for the rest of
my life. Watch the news until I
lose my hair and croak.
Irv is moved by Cris' dilemma.
Irv
There's no way around it?
CRIS
The best I can do is stay away from
all of `em.
Irv shakes his head with sympathy for Cris' plight.
IRV
In that case, you've gotta leave
the country.
CRIS
I know, I know, but there's
something I gotta do first.
26.
IRV
What?
Cris doesn't answer. His gaze is distant.
IRV
Cris?
Cris focuses.
CRIS
She's coming here. The Fed.
IRV
You gotta go?
Cris thinks. Shakes his head.
CRIS
Let's play it out.
INT. Irv's kitchen - DAY
Cris makes a lamb roast, studding it with cloves of garlic.
CRIS
I've got the place all picked out.
It's called Palau. Three hundred
teeny islands in the South Pacific.
(places roast in pan)
Nothing ever happens there, so
there's nothing to foresee.
IRV
Then what the hell are you waiting
for?
Cris puts the roasting pan in the oven.
CRIS
Her.
IRV
Who?
CRIS
I haven't met her yet.
IRV
Then find somebody else!
27.
CRIS
It has to be her.
IRV
What's so special about this one?
CRIS
She's the mother of my child.
Irv stops shuffling the cards.
IRV
I thought you were shooting blanks.
CRIS
I guess the doctors were wrong.
IRV
I don't mean to be indelicate, my
friend, but how do you know the
little bastard is yours?
CRIS
He's got my thing.
IRV
Your thing?
Cris holds up his hand, revealing that the skin between his
two middle fingers is webbed a little higher than normal.
CRIS
My thing.
IRV
I still don't understand why you
never got that fixed.
Cris laughs...then suddenly stops.
cris
She's here.
He walks to the door and opens it to discover Ferris standing
there, with her finger about to press the doorbell.
CRIS
Agent Ferris, come in.
She regards Cris with appreciation.
28.
FERRIS
One step ahead of the game.
cRIS
Always.
She enters. Tries not to be intimidated by his ability or
appearance. Sees Irv, watching them.
Ferris
Is there some place we can speak
privately?
CRIS
Let's go in the kitchen. I've got a
roast in the oven.
IrV
No, you two stay here. I'll watch
the food.
Once out of Ferris' eyeline, Irv queries Cris with his hand
in the shape of a gun. Cris shakes his head, then turns to
Ferris - and waits for her to begin.
FERRIS
You're wasting your life, Cris. You
have the most amazing talent, and
you're running from it.
CRIS
Yeah, people say I could have been
a chef.
Ferris
Don't be cute. There's too much at
stake here.
Her gravity anchors him.
FERRIS
Now if you say that man in the
liquor store was going to shoot
five people, I believe you. Why
else would you kill a stranger?
Cris guards his reaction.
FERRIS
But no good deed goes unpunished,
eh?
(MORE)
29.
FERRIS (cont'd)
And that's how it's going to be in
this world. People will either hate
you or want to exploit you.
CRIS
Everyone but you, of course.
FERRIS
I can fix your legal problems. More
importantly, I can give you a
chance to use your gift.
CRIS
Trust me, it's better if I don't.
It's better if I just mind my own
business.
Ferris looks at him, disapproving.
FERRIS
I'll be honest with you, Cris.
That's not an option. Your country
needs you. And if we don't grab
you, somebody else will.
CRIS
Nobody's grabbed me yet.
Ferris
You're up against more powerful
forces now.
She lets that sink in.
FERRIS
I'd like you to come with me for
some testing. Would you be willing
to do that?
Cris's expression grows dark. He looks at Ferris accusingly,
then BOLTS away, toward the KITCHEN.
FERRIS
Where are you going?
Cris covers his eyes and dives to the floor as STUN GRENADES
shatter windows and explode with a FLASH.
FERRIS
(temporarily blinded)
Shit! Cavanaugh!
Gas grenades follow.
30.
Cris scrambles to his feet as a NEVADA POLICE SWAT TEAM
bursts through windows and doors, wearing gas masks and
goggles, scanning with laser-guided rifles. They find Cris,
dashing for the back door. Open fire.
Cris tumbles, dodges a few bullets, then takes a hit in the
shoulder, the back, the leg. Staggers forward. Absorbs dozens
of bullets.
Falls.
Lies there.
Dying.
Cavanaugh steps up to deliver the final shot.
SNAPBACK TO:
INT. Irv's house / living room - an hour AGO
IRV
In that case, you've gotta leave
the country.
CRIS
I know, I know, I've got the place
picked out. But there's something
I've gotta do first.
IRV
What?
Cris doesn't answer. His gaze is distant.
IRV
Cris?
Cris focuses.
CRIS
I have to go.
IRV
You just got here.
CRIS
I know, but they're coming for me.
Cris takes the pack of cash he got from Guy, pulls out more
than half the bills, and sets them on a table.
31.
CRIS
This is for nurses and stuff, to
make things a little easier.
IRV
You're gonna need it.
Cris shakes his head and embraces Irv.
CrIS
You're the only one I could trust.
Ever.
They're both choked up.
IRV
I don't suppose you've discovered
any last minute escape for me?
CRIS
I looked, Irv, I really did. I went
down every path, every treatment.
Sometimes there's just no...
IRV
It's okay. It's okay...Now I can
relax.
A last look.
Ext. irv's street - dAY
Cris' approaches his parked Camaro with his key out.
CAVANAUGH and SIX TROOPERS spring from hiding, guns trained
on him.
Camera pans to cris
In Irv's back yard, watching this scene.
Ext. ALLEY BEHIND IRV'S HOUSE - DAY
A State Trooper keeps watch, smoking. When he steps on the
butt, Cris enters the frame in the background. When the
Trooper turns to a wall to piss, Cris crosses the alley,
unseen. When Cris passes out of frame, the Trooper finishes,
unaware of what he has missed.
32.
Ext. outskirts of vegas - night
A Route 66-vintage highway with stop lights and tawdry
commercial development. Cris stands on the shoulder, thumbing
a ride. Cars and trucks pass without stopping.
FAST FOWARD through endless traffic until an OLD CHEVROLET
pulls over. Cris checks his watch. It's 8:23.
Snapback TO:
SIDE OF THE ROAD
Chris checks his watch. It's 7:57.
Cris
(to himself)
Twenty-four minutes.
He looks around. Sees a donut shop. Heads toward it.
INT. Irv's house - night
Cavanaugh's State Troopers, guns drawn, are searching the
place on a hair-trigger, ready to blow away anything that
moves.
FERRIS
I need him alive, Cavanaugh. Even
if he resists.
CAVANAUGH
Yes, ma'am.
She points to Cavanaugh's troopers.
FERRIS
Tell them.
As Cavanaugh grudingly walks off to deliver the message, Irv
approaches Ferris.
Irv
You'll never catch him. He knows
what you're gonna do to him.
FERRIS
That's very helpful information.
She walks off, leaving Irv to regret he opened his mouth.
33.
INT. donut shop - night
Cris steps in. Goes to the counter.
CrIS
Medium coffee, black, and a glazed.
As he waits, he sees a vague REFLECTION in the GLASS DISPLAY
CASE: a SQUARE CROSS, coming into focus.
Puzzled, Cris looks up and around to see the object that's
being reflected. He can't find it. Cris turns back to the
display case, but the reflection is gone. The DONUT GIRL
gives him his order.
Cris takes it, turns, and notices LIZ COOPER sitting by
herself at a booth, circling items in the classified section.
He recognizes her as the future mother of his future child.
Cris gazes at her face, which is both childish and mature,
shy yet indomitable.
She turns, scowling, from the staring stranger.
Cris approaches Liz and gives her that smile that always
works.
CRIS
Mind if I join you?
LIZ
(prickly)
Yeah, actually I do.
Cris seems disconcerted.
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz again
and tries a different opening line.
CRIS
Is that cruller any good?
Liz looks at him like he's hopeless. He notices that she's
reading the used car ads.
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz.
34.
CRIS
Shopping for a car?
LIZ
What business is it of yours?
SNAPBACK TO:
The Donut Girl gives Cris his order. He approaches Liz.
CRIS
Rough day?
lIZ
I don't want to talk about it.
SnAPBACK TO:
The Donut Girl gives Cris his order. Discouraged after all
that rejection, he approaches Liz -- and bobbles his coffee,
spilling it on the floor. He's mortified, but she smiles at
him.
SNAPBACK TO:
The Donut Girl gives Cris his order. Now confident he's found
the right approach, Cris approaches Liz and deliberately
bobbles his coffee. But not in the exact way he did before.
When it falls, it splashes on her shoes.
LIZ
Aw Christ! Look what you've done!
CRIS
I'm so sorry. I'm a spaz.
LIZ
Yeah, you are.
She wipes her shoe with a napkin.
LIZ
It looked like you spilled it on
purpose.
CRIS
Why would I do that?
LIZ
I don't know. To impress me?
35.
CRIS
Look, I'm sorry. If I could, I'd do
it over.
Disgusted, she hands him a stack of paper napkins.
CRIS
Here.
She watches as he sops up the coffee and carries dripping,
soggy tissues to the trash. The miserable expression on his
face finally wins the smile he's been working for.
INT. Donut shop - night - a few minutes later
They're sitting across from each other, laughing.
Liz
Divorce, bankruptcy, repossession.
Yeah, I'd call that a bad year.
CRIS
Well, Liz, your luck's about to
change.
LIZ
How's that?
CRIS
You met me.
LIZ
And what are you, a leprechaun?
CRIS
An angel, actually. And we always
reward the people who help us.
LIZ
Great, what do I have to do?
CRIS
You don't have to do anything.
Cris glances outside and sees the old Chevrolet drive by
without stopping. He checks his watch. It's 8:23.
CRIS
But I could use a ride.
She knows she shouldn't.
36.
INT. JEEP CHEROKEE / on highway - nIGHT
Going fast. Johnny Cash on the CD.
LIZ
When does the luck kick in?
CRIS
It already has.
LIZ
I don't feel anything.
CRIS
Not even a tingle?
LIZ
Son, I haven't had a tingle in
eight months.
He waits for the other shoe to drop.
Liz
(can't hold it in)
Since my worthless no-good dickhead
of a husband ran out on me.
CRIS
Then you're way overdue. For a
reversal of fortune.
Brake lights flare on the cars ahead. They pass an exit.
CRIS
Any kids?
LIZ
Thirty.
(off his look)
I teach fifth grade.
CRIS
I mean of your own.
She shakes her head.
CRIS
I guess that's good. Considering.
LIZ
No, that was the problem. - I
couldn't get pregnant.
37.
Traffic is backed up.
CRIS
I'm sorry. I didn't mean to pry.
LIZ
You didn't. I'm just running off at
the mouth. - That's why I was in
Vegas. To see another doctor.
Flashing yellow lights - a barricade. Cris is getting
nervous.
CRIS
He didn't want to adopt?
LIZ
No, he had to have a Randy Junior.
Flashing blue lights - parked cop cars.
LIZ
What, is there an accident?
The place is crawling with state troopers. Cris is looking
around for a way out.
SnAPBACK TO:
one MINUTE EARLIER - one mile back
LIZ
When does the luck kick in?
CRIS
It already has.
LIZ
I don't feel anything.
Brake lights flare on the cars ahead.
CRIS
(urgent)
Take this exit. Quick!
LIZ
Why?
CRIS
Just take it!
38.
The dotted lines on the road are now solid.
LIZ
It's too late!
CRIS
No it's not!
Cris grabs the steering wheel and jerks it to the right,
sending them over some speed bumps onto the off ramp.
LIZ
Let go! Are you out of your mind?!
She slams on the brakes and they screech to a stop on the
right shoulder of the exit ramp.
LIZ
Get out!
Cris scrambles for an explanation. Looks, sees a quieu of
brake lights from the roadblock now backed up past the exit.
CRIS
Traffic was piling up. You didn't
see it?
LIZ
GET OUT!!
CRIS
We could'a been stuck there for
hours.
LIZ
I don't give a flyin' goddamn! You
don't grab the steering wheel!
Cris pauses for a beat. Takes a different tack.
CRIS
You're right. I'm sorry. I
panicked. I get phobic sitting in
traffic. It won't happen again, I
promise.
LIZ
Damn straight, cause you won't be
in the car!
She waits for him to exit.
39.
CRIS
How `bout at the next gas station?
Please. I'll fill up your tank.
Liz sighs, exasperated, and continues down the exit ramp,
passing a sign that says, WELCOME TO CALIFORNIA.
ext. road block - NIGHT
Cavanaugh and Ferris drink coffee as troopers examine every
passing vehicle.
Ferris
You're wasting time here.
CaVANAUGH
How long have you been in law
enforcement? About six months?
FERRIS
Long enough to know we're not gonna
catch him by surprise.
CAVANAUGH
What, you think he's got some kind
of radar?
FERRIS
Interesting idea. It'd explain a
whole lot.
CAVANAUGH
And Area 51 would explain my
missing tennis shoes. But that
doesn't mean they're on a flying
saucer.
Ferris comes to a decision.
FERRIS
In this case, it does.
Cavanaugh knows he's about to hear something wild.
Ext. Gas station/mini-mart - night
Gasoline flowing. Liz, still in a snit, sits impatiently
behind the wheel, watching in the mirror as Cris crosses
behind the car and knocks on her window. Grudgingly, she
lowers it. He holds out a lottery card.
40.
CRIS
I am really really really really
sorry.
Indulging him, she takes it. When he walks away, she deigns
to look at it. She tries to resist but can't. Gets out a
nickel and scratches the card. Wins $250. What the...?
CHUNK. The pump shuts off.
BEHIND THE CAR
Cris takes out the nozzle and twists on the cap. Behind him,
Liz strides by in a huff.
Liz
Get in the car. I'll be back in a
minute.
Cris smiles to himself as she proceeds toward the mini-mart.
exT. roadblock - NIGHT
Cavanaugh considers what Ferris has just told him.
CAVANAUGH
I'd call your proof a little iffy.
FERRIS
Look, from your own experience,
this guy can't be punched, shot,
surprised, captured, or confined.
So either he's got something
special, or you're an idiot.
Cavanaugh doesn't like her logic.
CAVANAUGH
Let's say I'm not an idiot...
FERRIS
And I'm not saying you are.
CAVANAUGH
Then what?
FERRIS
We've got to think like he does.
We've got to think ahead.
41.
INT. liz's CAR ON a mountain ROAD - night
Willie Nelson on the CD player. Liz holds an Icee in one hand
while Cris feeds her Kettle Chips.
CRIS
But lately I've been traveling all
around Oregon. It's really peaceful
up there.
LIZ
All right, I'm starting getting the
picture. - Basically, you're a no-
good, worthless ramblin' man who's
never held a job in life.
CRIS
(smiles)
Exactly.
She's charmed, in spite of herself.
liz
At least you're honest about it.
Ext. Liz's car - Outskirts of tahoe - nIGHT
Cris and Liz sing along with Patsy Cline on the radio. The
song ends as they hit the city limits.
LIZ
This is where I turn into town.
She pulls over.
CRIS
Well, thanks for the ride.
LIZ
Thanks for the card.
CRIS
You're welcome.
They're both reluctant to part.
cRIS
I don't suppose you'd have time for
a drink.
LIZ
No, no, I've gotta teach tomorrow.
42.
CRIS
I understand...Well, see ya.
LIZ
So long.
He steps out and starts to close the door.
LIZ
Well, maybe just a quick one.
INT. The silver spur - night
Cowboy dive. Crowded for a week night. Liz leads Cris to the
bar where the BARTENDER is washing some glasses.
LIZ
Hey, George.
Bartender
Hey, Liz.
LIZ
I'll take the usual and he'll have
a...
CRIS
Sierra Pale.
The Bartender and Liz exchange a look.
Bartender
Two Sierras.
As he draws two pints, the Bartender leans toward Liz.
BartENDER
Randy's been hanging around.
LIZ
He's not here now, is he?
Bartender nods toward the pool tables, where RANDY, her ex,
plays 8-ball with a pal.
LIZ
Thanks.
She turns to Cris.
LIZ
We gotta split. My ex is here.
43.
Cris lays some money on the bar, and they head for the door.
But before they get there, Randy sees Liz and bounds after
her, holding a pool cue. He's much bigger and taller than
Cris.
Randy
I gotta talk to you, baby.
LIZ
Sure, Randy. I'll call you
tomorrow.
She tries to slide by him. Randy blocks the way.
Randy
Bullshit. I've left a dozen
messages on your phone.
Cris steps between them.
Cris
Excuse me. We were just leaving.
Randy
And who the hell are you?
Cris stands his ground. Locks eyes.
Liz
Don't mess with him, Cris. He used
to play hockey.
CRIS
Just a friend.
Randy
Then don't get between me and my
woman.
LIZ
I'm not yours anymore, asshole!
Randy
Baby, I've made a terrible mistake,
and I just want to undo all the...
Randy holds Liz by the shoulders.
liz
Let go!
44.
RANDY
You still care for me, I know it.
Liz resists. Cris grips Randy's arm.
CRIS
Easy, man.
Randy hauls off to slug Cris. Cris easily ducks the blow and
answers with a solid punch to the belly.
Randy recovers and realizes he's up against a skilled
opponent. He takes a stance, ready to get serious. He sticks
a few jabs at Cris, who easily slips from each one, like he
saw them coming a mile away. Randy goes for a hook. Cris
feints and lands an uppercut to Randy's chin. Most men would
go down, but Randy is so big, he stays up to take more
punishment.
Cris delivers an elegant beating that humiliates the big guy
and makes him look like an oaf. Cris puts an end to it by
breaking Randy's nose. The big guy falls to his knees,
bleeding.
Liz rushes to Randy's side, holding her ex and glowering up
at Cris like he's a sadistic brute.
LIZ
Get out of here! Get out!
Cris realizes he's blown it.
SNAPBACK TO:
MOMENTS BEFORE
RANDY
You still care for me, I know it.
Liz resists. Cris grips Randy's arm.
CRIS
Easy, man.
Randy hauls off to slug Cris, who this time makes no effort
to duck. WHAM! Cris takes a sledgehammer in the mouth. Randy
follows up mercilessly, punching Cris in the gut, then
holding him up while he punches him again.
Liz grabs Randy's arm.
45.
LIZ
Stop it, Randy! Stop it!
Randy flings her aside and finishes up with a solid right to
Cris' jaw, that puts him on the floor. Randy pulls back his
leg for a pointy-booted cowboy kick to the ribs, when Liz
rushes to Cris' side and glowers up at Randy like he's a
sadistic brute.
LIZ
Get out of here! Get out!
Randy realizes he's blown it -- and lets himself be pulled
out of the bar by a couple of buddies.
Liz examines Cris with concern.
LIZ
Oh God, I'll take you to the
emergency room.
CRIS
No ho'pital. I don' nee' ho'pital.
LIZ
God, I hate that bastard...Will
somebody get some ice!
She strokes Cris' hair.
Ext. Liz's cottage - night
In the foothills. Liz's car pulls up. Cris gets out, holding
a dish towel full of ice to his jaw.
CRIS
I'm sorry I'm causing you all this
trouble.
LIZ
Are you kidding? You stood up for
me.
CRIS
Actually, I wasn't standing for
that long.
Liz unlocks the front door. Turns on the lights.
LIZ
Sorry it's so cold in here. The
heater's broken.
46.
INT. Liz's cottage - night
Cris looks around, sore but pleased that he has managed to
stay in Liz's company. The place is cozy, ranch-like.
LIZ
I really should've left him a long
time ago. God knows he deserved it.
CRIS
Why didn't you?
LIZ
Cause I don't leave. I never have.
My boyfriends always left me.
She wets a washcloth with hot water.
LIZ
I get attached to people, and then
I'll put up with anything.
CRIS
What a terrible quality. You're too
loyal.
She returns with a wet washcloth.
LIZ
Sit in the light.
He lowers himself onto the sofa next to the table lamp. She
comes close and gingerly wipes the blood from his nose and
lips.
LIZ
I never minded that I was the more
devoted one. Somebody's gotta be
more this or more that.
He looks in her eyes.
LIZ
But they never appreciate it, that
you're there for them.
She tries to stay on task but gets drawn in by his gaze.
LIZ
They just try and get away with
more and more, and figure you'll
just...
47.
He leans forward. Their lips touch.
LIZ
Salty.
It gets more intense.
Then abruptly, she shies away, freaked.
LIZ
Christ, I don't even know you. I
have no idea who you are.
SNAPBACK TO:
ON THE SOFA
She wipes the blood from his nose and lips. He looks in her
eyes. She tries to stay on task, but she gets drawn in by his
gaze. He leans forward. Their lips almost touch. But this
time, Cris pulls back.
Liz is embarrassed.
LIZ
Sorry to get you caught up in my
soap opera.
CRIS
Once you start watching, it's hard
not to get involved.
She goes back to tending his wounds.
LIZ
You ever been married?
CRIS
Almost.
LIZ
What happened?
CRIS
She wanted kids.
LIZ
And you didn't?
CRIs
No, I did, too.
48.
She looks at him, curious.
CRIS
It's just that...I can't.
Something about his revelation unsettles her.
LIZ
Why are you telling me this? These
personal details.
CRIS
I don't know. You asked and...I
guess I felt like you'd understand.
Tears well up in her eyes.
lIZ
I do.
Cris looks at her with sympathy.
lIZ
I can't either. Have kids.
Cris comforts her. She looks up into his eyes expectantly.
Fighting the pull, he looks away for a moment to see where
this is going - then glances back at her, almost dizzy.
CRIS
That was incredible.
LiZ
What was?
CRIS
This.
He kisses her with a quiet intensity that quickly ignites.
Their lovemaking unfolds as it would be experienced by Cris.
Effect before cause. The pleasure, then the gesture that
elicits it.
Cris explores her body until she sighs, then snapsback and
goes directly to the sweet spot. He strings together a
perfect melody of shudders and moans, without striking any
false notes along the way.
Moments are superimposed, diaphonous, played against each
other in counterpoint.
49.
Visual harmonics, elastically out-of-sync. Rising to a
crescendo. Until all the futures resolve into a single now.
DISSOLVE TO:
AFTERWARDS - nIGHT
Floating in bed. Her head on his chest. His eyes open, sadly
content, like he wishes he could stop time here forever. Like
he's afraid it will all disappear if he takes his eyes off
her.
LIZ
That was...I've never...
Cris forces himself to look away into the distance.
int. WISDOM'S OFFICE / federal facility - night
Wisdom, exhausted, quietly confers with a cadre of ANALYSTS
AND OPERATIVES. Their voices are confident, but their body
language betrays their pessimism.
expert 1
We sent the payload to Livermore,
and by measuring the cesium
degradation, they've identified the
reactor in Smerlensk that it came
from.
expert 2
Washington has our birds tracking
for that radiation signature in key
cities.
Ferris slips in and takes an empty chair.
wisdom
What do we know about the
explosive?
Expert 3
Our lab downstairs is still
studying the C-4 sample. It's
Czech, but we haven't nailed down
the batch.
Wisdom rubs his forehead, distraught.
WISDOM
So basically we've got nothing.
No one disagrees.
50.
WISDOM
You're failing your country,
people. You're not trying hard
enough.
(looks around the table)
Do you understand what I'm saying?
Do you understand what I expect
from you?
The staff exchange uncertain glances.
WisDOM
TWIST ARMS! CRACK HEADS! BREAK THE
FUCKIN' LAW! BUT DON'T LET THIS
HAPPEN!
He has blown them wide-eyed.
WISDOM
(suddenly calm)
Are there any questions?
INT. WISDOM'S apartment - NIGHT
Ferris and Wisdom are in night gear, getting ready for bed.
She sees that he's disheartened.
FERRIS
You know you're very sexy when
you're ruthless.
WISDOM
We're groping in the dark.
FERRIS
My guy's got a flashlight. We just
need to bring him in.
Wisdom doesn't have the energy to fight her any more.
WISDOM
I'll see if Baines can spare some
manpower.
She's gracious in victory.
FERRIs
You're all the manpower I need.
51.
INT. Liz's house - bedroom - morning
Head on pillow, Liz buds from sleep. Reaches out. Cris is
gone. Her eyes open, fearful.
INT. LIZ'S KITCHEN - MORNING
She rushes in, looking for Cris. - He's not there.
She hears CLANKING from the laundry room.
On the floor, Cris sits next to the heater, which lies in
pieces. He tries to adjust the remaining apparatus.
LIZ
What the hell are you doing?
CRIS
You said it was broken.
LIZ
Well, you're not leaving till it's
fixed, I'll tell you that.
He smiles archly.
crIS
I'm afraid that could take a while.
Now she understands his strategy.
LIZ
As long as it's done right.
INT. HOMELAND SECURITY - workshop - DAY
Ferris enters the area where weapons are stored and where
mechanics build whatever the department needs. She interrupts
Baines as he gives instructions to some MP's. These are his
guys who get priority over the civilian Protective Service
Police.
FeRRIS
Did Wisdom talk to you?
BaiNES
(grudging)
What do you need?
FERRIS
This one first.
52.
She hands him a sketch. He studies it, perplexed.
BAINES
What is it?
FERRIS
A trap for somebody who can see the
future.
BAINES
If you say so.
FERRIS
And then these.
She hands him more sketches.
INT. Liz's fifth grade class - DAY
Liz stands before a map of the Native American tribes of the
Lake Tahoe region.
LIZ
And what was the main staple of
their diet?
SMARTIE PANTS busts a button to get called on. Instead, Liz
points to a SHY GIRL.
shy girl
Trout.
LIZ
From the lake?
SHY GIRL
No. From the rivers.
LIZ
Right. And the Washo were so
jealous of their fishing grounds
that when other Native Americans
came to trade for dried fish, they
were only permitted to remain one
night.
Liz notices that her students are distracted and giggling.
She turns to see Cris standing in the doorway, holding a box.
Embarrassed, she blushes.
LIz
I'll be right back.
53.
Liz pulls Cris into the hall, out of sight of the kids.
LIZ
What are you doing here?
CrIS
(beaming)
I brought ice cream sandwiches for
everybody.
LIZ
Ice cream sandwiches? Do you have
any idea how much fat they have in
them? Don't you see how overweight
half of them are?
CRIS
(crestfallen)
I - I didn't think of it. - I
thought you'd be happy to see me.
LIZ
Well next time exercise a little
forethought, okay?
He's speechless.
CRIS
Do you want me to leave these
somewhere?
LIZ
No.
CRIS
All right then. I'll just go.
Seeing his doleful expression, Liz can't help smiling. She
glances up and down the hall, then kisses him lasciviously on
the lips.
LIZ
Put a few in the freezer. I love
ice cream sandwiches.
With a mischievous grin, she ducks back into class, leaving
Cris reeling, but exhilarated.
54.
int. CHINESE RESTAURANT - NIGHT
Liz and Cris stuff their mouths with lo mein. She sets down
her chopsticks, picks up a red pencil and industriously
resumes marking up a stack of papers.
LIZ
You have been such a bad influence.
I'm gonna be up all night grading
papers.
Cris watches, bored.
CRIS
I've got a better idea. Run away
with me to the South Pacific.
LIZ
Funny. We've only known each other
a week.
CRIS
But we're going to be happy
together for the rest of our lives.
Really, I peeked.
She picks up the chopsticks and takes another bite.
LIZ
I think you're serious.
CRIS
Deadly.
She muses, tempted.
CRIS
Let's go pack your bags. We'll
leave tonight.
LIZ
And what'll we do for money?
CRIS
Don't worry. That's always been
easy for me.
She gets lost in the fantasy. He can almost taste the
fulfilmment of his dreams.
LIZ
This is ridiculous.
55.
CRIS
Why?
LIZ
Well, first of all, it's the middle
of the school year.
CRIS
They'll replace you.
LIZ
And I'm in charge of science fair.
CRIS
They can pick up the slack.
His unbridled enthusiasm brings out her inner adult.
LIZ
It disturbs me, Cris, that you
think it's okay just to duck your
responsibilities.
He's taken aback by her sudden shift.
CRIS
I - I don't think it's okay. I'm
not that kind of person. But I
have this feeling, this very strong
feeling, that it has to be now. We
have to leave soon, or it's not
gonna work out.
LIZ
I don't believe that. If it's meant
to be between two people, somehow
it'll happen.
CRIS
Yes, but sometimes you have to make
it happen. You have to seize the
opportunity before it's too late.
He tries to keep his desperation from showing, but she sees
right through him.
LIZ
What are you afraid of, Cris? Why
are you running away from yourself?
(MORE)
56.
LIZ (cont'd)
Whatever it is you're looking for,
I don't think you're going to find
it on some island, cut off from the
rest of the world.
He adores her more than ever, and fears losing her even more.
CRIS
Your students are very lucky.
She puts her hand on his.
LIZ
Now I've got to grade papers.
Ext. Church - DAY
Liz and Cris file by the PASTOR after the service and mill
about on the lawn with the other congregants. Kids release
pent up energy in the adjacent park.
Randy approaches Cris.
Randy
A religious fella, are you? Ready
to turn the other jaw?
Cris offers his profile for hitting.
CRIS
But then you have to sign the
divorce papers.
LiZ
Randy, don't you dare.
She drags Cris towards a YOUNG COUPLE WITH KIDS.
Liz
Paul, Janice. Have you met Cris?
RANDY
approaches RICK, a young LOCAL POLICEMAN who's not the
sharpest knife in the drawer.
Randy
There's something weird about that
jerk. Have you checked him out?
Policeman RICK
I'm not dragging the Law into your
romantic squabbles, Randy.
57.
Randy
C'mon, Rick, help me out here.
Ext. church - DAY
Paul and Janice are chatting with Cris and Liz.
Paul
Cris, are you free on Tuesday?
Cause I'd like you to be my guest
at the Rotary luncheon.
Janice
I'm the first female member.
Cris grows distracted. Out the corner of his eye, he sees a
SPORTS CAR gunning it down the street, passing a SUNDAY
DRIVER to beat a red light. At that moment, a kid misses a
catch and a BASEBALL rolls into a street, where a twenty-ish
WOMAN JOGGER runs over to get it, just as the sports car
passes the Sunday driver, sees the jogger, and skids, forcing
A BUS to swerve and plow into a GROUP OF PEOPLE standing at
the corner.
SNAPBACK TO:
A FEW SECONDS EARLIER
Paul
Cris, are you free on Tuesday?
Cause I'd like you to be my guest
at the Rotary luncheon.
Janice
I'm the first female member.
Cris is spaced out.
LIZ
Cris.
Ignoring them, Cris turns toward the street where he saw the
accident take place. He sees kids, but they're jumping rope.
Wrong group. He scans around and finds the kids who are
playing softball. Someone misses a catch. The ball rolls
toward the street. The sports car is now coming fast. The
woman jogger sees the errant ball and runs to fetch it.
CrIS
Miss! Lady! Don't!
58.
She's wearing earbuds and can't hear him. He's too far away
to grab her. He's closer to the approaching sports car. Cris
picks up a rock, prepares to throw, hesitates a beat,
squints....
He throws. Misses. Snapback. Throws. Misses. Snapback. Again.
Again. Scores a hit. Snapback. Opens his eyes and hurls the
stone.
Liz and the bys |
