Arizona Junior disponible en DVD Z2 |
Hi, impenitent cambrioleur de supermarches, passe beaucoup de temps dans la prison de Tempe en Arizona. Il y rencontre un jour Ed, charmante femme policier, dont il tombe eperdument amoureux. Termine les braquages, il se marie et part pour l'usine qui ressemble somme toute a la prison. Hi et Ed voudraient un enfant mais Ed est sterile. Or un jour des quintuples font la une de la presse locale. Hi et Ed decident d'en voler un. Sur cinq, cela ne se verra pas trop. |
|
RAISING ARIZONA JOEL COEN & ETHAN COEN OVER BLACK: VOICE-OVER: My name is H. I. McDunnough ... A WALL With horizontal hatch lines. VOICE-OVER: ... Call me Hi. A disheveled young man in a gaily colored Hawaiian shirt is He holds a printed paddle that reads "NO. 1468-6 NOV. The hatch marks on the wall behind him are apparently VOICE-OVER: ... The first time I met Ed was in the FLASH As his picture is taken. CLOSE UP On the paddle: "NOV. 29 79." VOICE-OVER: ... a day I'll never forget. A bellowing male voice from offscreen: SHERIFF: Don't forget the profile, Ed! ANGLE ON THE STILL CAMERA It is mounted on a tripod. A pretty young woman in a severe WOMAN: Turn to the right. HI: What kind of name is Ed for a pretty thing like ED: Short for Edwinna. Turn to the right! Hi obliges, but still looks at ED Out of the corner of his eye. HI: You're a flower, you are. just a little desert flower. FLASH On his eye-skewed profile. HI: Lemme know how those come out. LOW ANGLE CELL BLOCK CORRIDOR As Hi is escorted away from the camera toward his cell. At the far end of the corridor a huge con is sluggishly VOICE-OVER: I was in for writing hot checks which, INTERCUTTING Hi's POV of the MOPPING CON, tracking as he approaches, VO: ... But there's a spirit of camaraderie that exists The mopping. con snarls as Hi passes: CON: Grrrr . . . VO: ... or on a pro ball club in the heat of a pennant NEWSREEL FOOTAGE A ballplayer connects-THWOCK-for a home run and the PRISON HALL Panning a circle of men who sit facing each other in folding VO: In an effort to better ourselves we were forced to At this point the pan has reached the COUNSELOR, an COUNSELOR: Why do you use the word "trapped"? CLOSE UP BLACK CON The huge muscle-bound black man with a shaved head is CON: Huh? COUNSELOR: Why do you say you feel "trapped" . CON: Oh ... He bites his lip, thinking; then, in a resonant bass voice: ... Well, sometimes I get the menstrual cramps real PAROLE MEETING ROOM Three PAROLE OFFICERS-TWO men and a woman-face Hi CHAIRMAN: Have you learned anything, Hi? HI: Yessir, you bet. WOMAN: You wouldn't lie to us, would you Hi? HI: No ma'am, hope to say. CHAIRMAN: Okay then. EXT 7-ELEVEN NIGHT A beat-up Chevy pulls into the all-night store's empty VO: I tried to stand up and fly straight, but it wasn't Hi is getting out of the Chevy in a Hawaiian shirt, holding a ... I dunno, they say he's a decent man, so ... He primes the shotgun-WHOOSH-CLACK-and heads for ... maybe his advisers are confused. FLASH Full-face exposure of Hi once again in front of the mug-shot ED: Turn to the right! Hi obliges but shoots sympathetic glances at ED who is HI: What's the matter, Ed? ED: My fai-ants left me. VO: She said her fiance had run off with a student FLASH On Hi's profile. He turns back to ED. HI: That sumbitch. SHERIFF (offscreen): Don't forget his phone call, Ed! HI: You tell him I think he's a damn fool, Ed. You tell As another police officer starts to lead him away: HI: ... in the Munroe County Maximum Security CLOSE ON ED Looking up through her tears as Hi is led away. HI (OS): ... State Farm Road Number Thirty-one; BACK TO HI Struggling to call back over his shoulder as he is firmly led HI: ... I'll be waiting! The door slams. LOW ANGLE CELL BLOCK CORRIDOR As Hi is once again escorted toward his cell. The mopping CON is now in the middle-background, VO: I can't say I was happy to be back inside, but the CLOSE ON MOPPING CON As Hi passes. CON: Grrrr ... PRISON HALL Group is meeting again. COUNSELOR: Most men your age, Hi, are getting Hi looks sheepish. COUNSELOR: ... Would any of you men care to Two convicts sitting next to each other, GALE and EVELLE, GALE: But sometimes your career gotta come before EVELLE: Work is what's kept us happy. ANGRY BLACK CON: Yeah, but Doc Schwartz is sayin' HIGH ANGLE CELL Looking down from the ceiling. In the foreground, lying on On the lower bunk, also with hands clasped behind his VO: I tried to sort through what the Doc had said, but MOSES: An' when they was no meat we ate fowl. An' HI: You ate what? MOSES (nodding): We ate San'. HI: You ate sand?! MOSES: Dass right . . . PAROLE BOARD ROOM Hi faces the same three PAROLE OFFICERS across the same CHAIRMAN: Well B, you done served your twenty SECOND MAN: These doors goan swing wide. HI: I didn't want to hurt anyone, Sir. SECOND MAN: Hi, we respect that. CHAIRMAN: But you're just hurtin' yourself with this HI: I know that, sir. CHAIRMAN: Okay then. HIGH SHOT Of a 7-Eleven parking lot, at night, deserted except for Hi's VO: Now I don't know how you come down on the Hi backpedals into frame with a shotgun and a bag of cash. ... whether it's for rehabilitation or revenge . He spins and grabs his car-door handle. Locked. He tries the ... But I was beginning to think ... As we hear the wail of an approaching siren, Hi takes it on ... that revenge is the only argument makes any FLASH On Hi against the mug-shot wall. ED: Turn to the right! SHERIFF (OS): Don't forget his latents, Ed! CLOSE ON HI'S HAND We see his right hand being efficiently manipulated by ED'S HI (OS): Hear about the paddy-wagon collided with the ED titters offscreen. ED (OS): I heard that one. She is done rolling off his prints. Her hand lingers on top of HI (OS): Got a new beau? ED (OS): No, Hi, I sure don't. Hi slips a ring off his own finger and slides it onto ED'S. HI (OS): Don't worry, I paid for it. LOW ANGLE CELL BLOCK CORRIDOR The surly MOPPING CON has now worked his way up to the Hi is being escorted past him to his cell. VO: They say that absence makes the heart grow Halfway up the corridor Hi points casually at the floor. HI: You missed a spot. The MOPPING CON turns to watch him recede. CON: Grrrr ... HIGH ANGLE CELL Same high shot with MOSES on the top bunk, Hi on the lower. VO: More and more my thoughts turned to Ed, and I MOSES: An' momma would frow the live crawdad in a We begin to crane down to tighten on the absently staring Hi. ... an' I frew it in a pot, forgettin' to put in the water, MOSES' voice is mixing down as we lose him from frame. ... and it was like I was makin' popcorn, ya see ... VO: The joint is a lonely place after lock-up and fights We are now very close on Hi, staring. ... when the last of the cons has been swept away by HI'S POV The underside of the top bunk. A sudden flash whitens and fades to leave the image Of ED, BACK TO HI He wearily turns his head to profile on the pillow and shuts VO: But I couldn't help thinking that a brighter future Eyes closed, he is illuminated by a flash. PAROLE BOARD ROOM Hi and the same three officers. CHAIRMAN: Got a name for people like you, Hi. That SECOND MAN: Ree-peat 0-fender. CHAIRMAN: Not a pretty name, is it, Hi? HI: No Sir, it sure ain't. That's one bonehead name. CHAIRMAN: You're not just tellin' us what we wanna HI: No Sir, no way. SECOND MAN: 'Cause we just wanna hear the truth. HI: Well then I guess I am tellin' you what you wanna CHAIRMAN: Boy, didn't we just tell you not to do that? HI: Yessir. CHAIRMAN: Okay then. TRACKING Over Hi's shoulder as he strides toward a door marked It is the familiar booking room. ED looks up from her HI: I'm walkin' in here on my knees, Ed-a free man Hi cocks a finger at the suspect. HI: Howdy Kurt. ED'S ROOM As she nervously frets at her white bridal gown in front of a VO: And so it was. SHERIFF (OS): Don't forget the boo-kay, Ed! CLOSE SHOT ED Gazing earnestly into the camera. A congregation is seated ED: I do. CLOSE SHOT HI Also staring into the camera. HI: You bet I do. REVERSE Over their shoulders, the minister. MINISTER: Okay then. FLASH On the newlyweds smiling at the camera. FLASH On the newlyweds smiling at each other, profile to the HIGH WIDE SHOT TRAILER PARK In the middle of a vast expanse of desert. VO: Ed's pa staked us to a starter home in suburban INT MACHINE SHOP Hi is working the drill press, wearing goggles and sweat- VO: ... and I got a job drilling holes in sheet metal. Next to him idly stands Bud, a veteran of the shop, with a BUD: So we was doin' paramedical work in affiliation HI: Bill Roberts? BUD (barking): No, not that motherscratcher! Bill He pauses to blow and pop a bubble with his chewing gum. ... And it don't look like a piece a the car. VO: Mostways the job was a lot like prison, except Ed CASHIER'S WINDOW Hi is scowling at his paycheck. Behind the barred window a VO: ... and a paycheck at the end of every week. CASHIER: Gummint do take a bite, don't she? EXT TRAILER Hi sits in a lawn chair in front of the trailer. ED sits on his Both are wearing sunglasses, looking at the setting sun. The scene is suff-used with a warm yellow light. VO: These were the happy days, the salad days as they As the sun sets, the light is turning from yellow to amber. Hi . . . and Ed felt that having a critter was the next The amber is turning to a more neutral dusky light as the sun ... Her point was that there was too much love and The dusk is slipping away into darkness. ... and every day we kept a child out of the world We are by now holding on pitch black. Crickets chirp. From ED: That was beautiful. A CALENDAR ED is crossing off the last day on the calendar before a day VO: So we worked at it on the days we calculated most INT TRAILER Hi is wearily entering after a long day at work, clutching his VO: ... and we worked at it most other days just to be ED flies into frame and leaps into his arms, covering him with TRAILER BEDROOM In each other's arms, Hi and ED roll over on the bed. VO: Seemed like nothing could stand in our way We pan with them rolling and continue off them to the night EXT TRAILER TWILIGHT ED Sits in a lawn chair knitting a booty. Hi stands in VO: ... My lawless years were behind me; our child DUSTY ROAD LEADING UP TO TRAILER DAY A squad car, its siren wailing, kicks up dust as it roars into VO: So we worked at it on the days we calculated most INT TRAILER Hi is wearily entering after a long day at work, clutching his VO: ... and we worked at it most other days just to be ED flies into frame and leaps into his arms, covering him with TRAILER BEDROOM In each other's arms, Hi and ED roll over on the bed. VO: Seemed like nothing could stand in our way We pan with them rolling and continue off them to the night EXT TRAILER TWILIGHT VO: ... My lawless years were behind me; our child DUSTY ROAD LEADING UP TO TRAILER DAY A squad car, its siren wailing, kicks up dust as it roars into ADOPTION OFFICE Hi and ED are seated on folding chairs facing an agent's desk. Hi wears a sport coat over his Hawaiian shirt. ED is in her HI: It's true I've had a checkered past, but Ed here is THE AGENT Looking, with a dead pan, from the file to Hi. HI: ... So we figure it kind of evens out. His face still deadly neutral, the agent looks back down at the VO: ... But biology and the prejudices of others INT SQUAD CAR On ED as she stares vacantly out the passenger window. VO: Our love for each other was stronger than ON HI Driving. He looks from ED Out to the road. VO: ... but I preminisced no return of the salad days. TRAILER BATHROOM Over Hi's shoulder as he stares listlessly at himself in the VO: The pizzazz had gone out of our lives. TRAILER BEDROOM The bedroom is somewhat messy. ED sits on the edge of the VO: Ed lost all interest in both criminal justice and MACHINE SHOP Once again Hi works as his sweaty gum-chewing colleague VO: Even my job seemed as dry and bitter as a hot BUD: So here comes Bill a-walkin' down Nine Mile- ON HI DRIVING Alone in his Chevy. He looks to the side. VO: I even caught myself drivin' by convenience HIS MOVING POV 7-Eleven. VO: ... that weren't on the way home. TRAILER LIVING ROOM Hi and ED Sit listlessly watching TV. VO: Then one day the biggest news hit the state since ED perks up, reacting to something on TV. Hi notices her ... The Arizona quints was born. THE TV A newscaster silently reading copy. Behind him news footage VO: By "Arizona" quints I mean they was born to a BACK TO HI AND ED Watching intently. Eyes still locked on the set, ED reaches her VO: As you probably guessed, Florence Arizona is the THE TV A LATE-NIGHT LOCAL COMMERCIAL NATHAN ARIZONA, a stocky middle-aged man in a white NATHAN ARIZONA (mixing up on the TV): So come on VO: ... The owner of the largest chain of unpainted NATHAN ARIZONA: And if you can find lower prices BACK TO HI AND ED As they slowly look from the TV set toward each other. LINE OF NEWSPAPER VENDING MACHINES Hi lounges near one of the vending machines as a VO: Yep, Florence had been taking fertility pills, and The businessman takes his newspaper and releases the Hi snags the door before it closes and takes his own five- He flips the paper over to look at the headline. FRONT PAGE OF NEWSPAPER The banner headline of the Tempe Intelligencer is: VO: Now y'all who're without sin can cast the first A pull back from the paper shows Hi and ED reading it ... but we thought it was unfair that some should BILLBOARD In the middle of the desert. It reads: "WELCOME TO EXT TRAILER TWILIGHT We are floating in toward ED who is seated, waiting, in the VO: With the benefit of hindsight maybe it wasn't such Hi gets in the car. FROM BEHIND THE CHEVY It starts down the long, winding road leading away from the VO: ... but at the time, Ed's little plan seemed like the The title of the film burns in: RAISING ARIZONA SUBURBAN LIVING ROOM EVENING Tableau of a couple at home. NATHAN ARIZONA is on the The living room is dominated by a large oil portrait of NATHAN (into the phone): Eight hundred leaf tables and A title is supered: THE ARIZONA HOUSEHOLD From somewhere upstairs we hear an infant start to cry.' NATHAN: ... Miles, alls I know is I'm away from the Another title is supered below the first: SEPTEMBER 17, 1985 ... Yeah, and if a frog had wings he wouldn't bump As he throws out his wrist to look at his watch a third title is . . .8:45 in the P.m. I'm gonna be down to the store in He starts to replace the receiver but brings it back with an . . .Or my name ain't Nathan Arizona! As he slams the phone into the cradle the titles disappear. NATHAN: That sounds like Larry. Close on the crying baby as Hi bounces it, gently but HI: Shhhh! Shh! Nice baby . . . He starts to lower it back into the crib. The crib is unpainted He looks desperately around the room. The room is wallpapered with nursery rhyme characters. There are toys strewn around. There is one adult-sized easy Hi carries the baby over to the chair, stepping on and He lifts the baby out of the crib and gently bounces it. This Another one in the crib starts bawling. Hi sets the second baby down on the floor and gives it a He whirls to look across the darkened room. The first baby has dropped off the easy chair and is LIVING ROOM NATHAN and FLORENCE are sitting stock-still, staring at the NATHAN: What're they, playing telephone? They stare at the ceiling. NURSERY Loose babies are crawling everywhere. Hi is skittering across the room in a half-crouch, a baby He hefts the other baby with his free arm and brings the He turns to look frantically around the room. The other three babies have disappeared. There is perfect quiet. Hi goes over to the closet door, which is ajar, and swings it He reaches under a moving pile of clothes on the floor and He returns it to the crib and freezes, listening. The sound of a rattle. He drops to the floor to look under the crib. WIDE ANGLE UNDER CRIB A baby holding a rattle leers into the camera in the Hi is pulling the baby out, away from the camera, when Hi twists one arm back to grope for the baby crawling on He is straightening up, a baby in each arm, when he reacts HI'S POV The hindquarters of a diapered baby are just disappearing LIVING ROOM FLORENCE and NATHAN are staring at the ceiling. After a NATHAN: ... Whyn't you go up and check on 'em? They sound restless. UPSTAIRS HALLWAY The floor-level wide-angle shot shows a baby crawling toward Hi emerges from the nursery and, stepping around the CLOSE ON HI Perspiring as he tiptoes the last two steps to the baby. HIS POV The baby and, beyond it, the stairway down to the main floor. We hear footsteps approaching. BACK TO HI He scoops up the baby and hurriedly tiptoes away toward the LOW-ANGLE REVERSE The baby at the nursery door in the foreground; the staircase HI'S free arm comes down into frame to scoop the baby up FLORENCE's head appears, bobbing up as she climbs the She approaches the nursery, still clutching the Dr. Spock NURSERY As FLORENCE enters from the hallway door. We track back into the room, on her, as she approaches the HER POV All of the babies have been replaced in the crib but not lying THROUGH THE WINDSHIELD OF THE CHEVY ED'S point of view of Hi approaching the car. He is shrugging CLOSE ON ED Barely able to fight down her anger. Hissing: ED: What's the matter?! Hi appears at her-the driver's-window. HI: Sorry honey, it just didn't work out. He is reaching to open the door but she slaps his hand away ED: What d'you mean it didn't work out?! HI: They started cryin', then they were all over me . . . He is trying to open the door, which ED is holding shut with ... It was kinda horrifying-Lemme in, honey. ED: Course they cried! Babies cry! HI: I know that now! Come on honey, we better ED is rolling up the window and locking the door. ED: You go right back up there and get me a toddler! I Muffled, through the closed window, and very forlorn: HI: Aw honey I- ED: Don't you come back here without a baby! NURSERY FLORENCE is holding one of the babies cradled against her CLOSE ON BABY Looking. BABY'S POV Of the window, as Hi's head appears in it. BABY Looking. Hi Looking back, he holds a finger to his lips. BABY FLORENCE starts bouncing it, patting it on the back. BABY'S POV Hi and the window bouncing up and down. LIVING ROOM NATHAN is leafing through the lingerie ads in the newspaper. NATHAN: Christian Dior my butt . . . FLORENCE enters. ... They pay money for that? FLORENCE: Yes dear. NATHAN: How're the kids? FLORENCE: Fine dear. NATHAN: Fuckin' kids, I love 'em. We hear the bleat of the squeeze-me toy. FLORENCE and CHEVY ED sits anxiously waiting in the driver's seat, peering Hi is opening the door with one hand, cradling a baby in ED: Which one ya get? As he gets into the driver's seat: HI: I dunno. Nathan Jr., I think. ED: Gimme here. He hands her the infant, then hands her the copy of Dr. HI: Here's the instructions. ED: Oh, he's beautiful! Hi nods as he pulls away from the curb. HI: He's awful damn good. I think I got the best one. ED is gushing and kissing the baby through the rest of the ED: I bet they were all beautiful. AU babies are HI: Yeah. This one's awful damn good though. ED: Don't you cuss around him. HI: He's fine, he is. I think it's Nathan Jr. ED: We are doin' the right thing, aren't we Hi?-l HI: Well now honey we been over this and over this. ED: But you don't think his momma'll be upset? I mean HI: Well a course she'll be upset, sugar, but she'll get ED suddenly bursts out crying. ED: I love him so much! HI: I know you do, honey. ED (still sobbing): I love him so much! TRAILER LIVING ROOM As the lights are thrown on. The room is hung with HI (OS): Okay, bring him in! REVERSE ED is entering with NATHAN JR. HI: This is it young Nathan Jr. Just feast your eyes ED: Don't be so loud around him, Hi. HI: (softly): Damn, I'm sorry honey. ED: And don't you cuss around him. HI: Aw, he don't know a cuss word from shinola. ED: Well see that he don't. HI (jovially): He's all right, he is. He reaches for the child. ... Come on over here, Nathan Jr., I'll show you He takes the baby in both hands and holds him out at arm's ... Lookahere, young sportsman. That-there's the Impatient with the nonsense: ED: He's tired, Hi. HI: Well we'll just sit you right there, boy ... He is propping NATHAN JR. up in the corner of the couch. Hi ... Just put those dogs up'n take a load off. Hi beams at NATHAN JR. ED smiles at NATHAN JR. NATHAN Silence. Suddenly Hi slaps his knee. HI: What are you kiddin'?! We got a family here! ED is getting up. ... He's a scandal, honey! He's a little outlaw! As she picks up the baby: ED: He's a good boy. HI: He ain't too good! You can tell by that twinkle in his ED: Don't you think we should put him to bed? HI: Hang on, honey ... He is frantically reaching for a Polaroid camera. ... Let's us preserve the moment in pictures! ED: just one, okay? ... She sits down on the couch with NATHAN IR. as Hi starts ...I gotta tell ya, I'm a little scared Absently, as he sets up the camera: HI: How come is that, honey? ED: Well we got a baby, Hi. It's an awful big As he peers through the lens: HI: Honey, could ya slide over a tad and raise the As she complies: ED: I mean we never done this before and I'm kinda HI: You're doin' real good, sugar. Hi sits on the couch, holding the camera's cable release. He ED: I love you, Hi. HI: We're set to pop here, honey. ED: You're gonna help, aren't ya? Through his teeth as he continues to grin at the offscreen HI: How's that, honey? ED: Give Nathan Jr. a normal family background, just We begin to hear distant thunder. HI: You can count on it, honey. ED: ... Everything decent'n normal from here on out. HI: Uh-huh. As he squeezes the cable release-FLASH-the image DARK FIELD SAME NIGHT The rolling thunder has built to a thunderclap at the cut, and Faraway lightning flickers and we hear the rumble of more THWACK -A head pops up out of the mud. It is GALE, the His head is covered with mud, although the driving rain is We are beginning to track in an arc around GALE's head, Still bellowing, as if in some primal rage, GALE has gotten Finally he is free. With a great cry, the mud-covered man plunges his right His arm comes slowly back up out of the mud. Clasped in Bellowing with effort he continues to pull, liberating the As the rain starts to wash the mud off his companion's Both are bellowing. Mud sucks and pops. Thunder crashes. INT GAS STATION MENS ROOM At the cut the ear-splitting thunder drops out to quiet. We The two bedraggled escaped cons are standing side by side, EVELLE cracks the bathroom door and looks out into the EVELLE: ... Okay. GALE: What is it? EVELLE: Mercury. Looks nice. EXT GAS STATION The two men are trotting out to a Mercury that sits untended AS GALE starts up the car EVELLE yanks the hose out and WIDE SHOT TRAILER LIVING ROOM Late at night. Hi sits asleep on the sofa at the far end of the We hear faint, distant knocking. As we track in toward Hi As we approach Hi we see that several Polaroids are spread By the time we tighten on his face the knocking has become VOICE: Open up! Hi starts awake with a grunt. . . .Open up in air! He looks up, alarmed. HI'S POV The front door of the trailer. Someone is pounding VOICE: Open up! It's a police! BACK TO HI He sits up and tenses. He looks around. ED stands in her nightgown at the mouth of the hallway, ED: Hi! What's goin' on? VOICE: Po-lice, son! Open her up! Hi gets to his feet, hurriedly tosses the Polaroids under a HI: Get in the bedroom. ED: They ain't gonna take Nathan?! HI: Well I'd like to see 'em fty. AS ED turns back to the bedroom: VOICE: Open up and maybe we'll letcha plea-bargain. BEDROOM As ED enters and shuts the door. She listens hard at the door: HI'S VOICE: ... Honey! Come on out here! Want you LIVING ROOM AS ED enters, carrying NATHAN IR. All three men-Hi, HI: Honey, like you to meet Gale and Evelle Snopes, GALE roars with laughter. ... Boys, this-here's my wife. GALE: Ma'am. EVELLE: Miz McDunnough. ED smiles politely, then squints at Hi. ED: Kind of late for visitors, isn't it Hi? HI: Well yeah honey, but these boys tell me they just GALE is admiring the baby. GALE: Well now H. I., looks like you been up to the EVELLE: That a him or a her? ED: It's a little boy. GALE: Got a name, does he? Hi and ED look at each other uncomfortably. Hi clears his HI: Well so far we just been using Junior. ED: We call him junior. EVELLE: Say, thairs good-J.R., just like on the Teevee. GALE is staring at the streamers and decorations. Reading GALE: "Welcome ... Home ... Son." Where's he Hi and ED respond simultaneously: HI: Tulsa. ED: Phoenix. HI: He was, uh ... he was visiting his grandparents. ED: They're separated. GALE: Was that yer folks ma'am? ED: No, I'm afraid not. GALE: I thought yer folks was dead, H.I.? HI (very uncomfortably): Well we thought Junior should As the two men move toward the couch ED hesitantly pipes ED: Hi, it's two in the morning ... She wrinkles her nose. ... What's that smell? Apologetically: GALE: We don't always smell like this, Miz ED: You mean you busted out of jail!! GALE: Waaaal ... EVELLE: We released ourselves on our own GALE: What Evelle means to say is, we felt the He is looking at the baby. ... My Lord he's cute. EVELLE: He's a little outlaw, you can see that. ED: Now listen, you folks can't stay here! GALE, EVELLE, and Hi look up at ED, dumbstruck. After a EVELLE: ... Ma'am? ED: You just can't stay! I appreciate your bein' friends She looks at Hi. ... I mean we got a toddler here! GALE leans in close to Hi, a look of sincere concern on his GALE: Say, who wears the pants round here H.I.? HI: Now honey- ED: Don't you honey me. Now you boys can set a There is an awkward silence as she leaves and slams the GALE is carefully studying his thumbnail; EVELLE stares GALE: Gotcha on a awful short leash, don't she H.I.? BEDROOM Sometime later, as Hi tiptoes in. ED lies in bed facing the The sound of the TV set in the living room filters faintly ED: They stiff here? Hi is momentarily startled, then goes on playing with the HI: Yeah, they're just gonna stay a day or two. It's ED finally turns to face him. We hear the two men laugh ED: They're fugitives, Hi ... HI turns to face her. . . .How're we gonna start a new life with them HI: Well now honey you gotta have a little charity. Ya ED: Promise just a day or two. HI: Tonight and tomorrow, tops. EXTREME HIGH ANGLE Looking straight down at Hi, asleep in bed. It is later: VO: That night I had a dream . FLASH CUT For a brief moment we see a wall of flames and hear it roar. BACK TO HI Still craning down. VO: ... I'd drifted off thinkin' about happiness, birth, FLASH CUT Wall of flames. Deafening roar. BACK TO HI Craning down. The faint National Anthem ends: we hear the VO: ... but now I was haunted by a vision of- WALL OF FLAMES Roaring. At the cut: WHOOOOOSH! a huge low-rider The chains worn by the BIKER clank ominously as he rides. VO: He was horrible . . . The BIKER roars out of frame. LOW-ANGLE REVERSE As the BIKER roars into frame, his rear tire laying down a VO: ... a lone biker of the apocalypse . . . TRACKING ON BIKER As he roars along a ribbon of desert highway. VO: . . . a man with all the powers of heR at his The BIKER reaches for his bullwhip. ... He could turn the day into night . . . The BIKER cracks the whip and, at the crack: The sky behind him turns instantly to black. Bolts of ANOTHER DESERT SCENE DAY Tracking with and also in on the BIKER from behind as he VO: . . . and laid to waste everything in his path. REVERSE TRACK ON BIKER Pulling the BIKER from a distance as he levels the two VO: He was especially hard on the little things . . . CRACK-as the first shotgun spurts orange the foreground LOCKED-DOWN WIDE SHOT On a rock in the foreground, a desert lizard suns himself. The BIKER is approaching in the distant background. VO: . . . the helpless and the gentle creatures. CRACK-from afar, the foreground lizard is blown away. LOCKED-DOWN LOW-ANGLE WIDE SHOT Of the empty desert road stretching away. In the foreground The BIKER roars into frame. VO: He left a scorched earth in his wake, befouling As the BIKER roars away, the foreground flower bends with TRACKING ON BIKER From in front. He twirls the shotguns in either hand and VO: I didn't know where he came from or why . . . We are moving in on his chest, where two crisscrossed I didn't know if he was dream or vision . . . REVERSE TRACK ON BIKER From behind, booming down as we track. We are approaching VO: But I feared that I myself had unleashed him ... HIGH SHOT Of the BIKER approaching, craning down as he draws near. VO: ... for he was The Fury That Would Be ... With the crane down we momentarily lose him from view REVERSE As he crashes back down to earth in the foreground and roars VO: ... as soon as Florence Arizona found her little The roar of his engine and clank of his chains recede as the We are left looking at the empty street and the faraway The receding roar has left behind eerily beautiful singing, a The camera starts floating forward very close to the As we approach the Arizona house we can see that a ladder We are moving quite fast now. The scream all but buries We are rushing toward the house, toward the base of the We hurtle toward and then straight up the ladder with We reach the top and hurtle-THWAP!-through the We are rocketing toward her. She is turning to us, hands pressed to her ears, mouth CUT TO: EXTREME CLOSE SHOT NI'S EYES As they snap open. The screaming snaps off at the cut. The singing that the Perspiration beads Hi's forehead. He looks down toward the THE BEDROOM It is now morning. ED walks back and forth, gently bouncing Faintly, from the next room, we can hear GALE and EVELLE Hi (groggily): He all right? ED: He's all right. He was just havin' a nightmare. Hi is getting out of bed. HI: Yeah, well . . . He crosses to the bedroom window and cracks the venetian HIS POV Beyond a clothes line and a septic tank, a huge orange ball of BACK TO HI Looking. HI: ... Sometimes it's a hard world for little things. HIS POV The orange sun, rumbling, perceptibly rising. ARIZONA HOME FRONT FOYER At the cut the rumble of the sun is snapped off by the high- An obie light over a local TV news camera glares in at us; NATHAN: -No, the missus and the rest of the kids've VOICE: Mr. Arizona, which tot was abducted? NATHAN: Nathan Jr., I think. VOICE: Do you have anything to say to the kidnappers? NATHAN: Yeah: Watch yer butt. VOICE: Sir, it's been rumored that your son was NATHAN (sadly): Now don't print that, son. If his A POLICEMAN from inside the house is taking NATHAN by the POLICEMAN: We really have to ask you some more As NATHAN allows himself to be led back into the house he NATHAN: But remember, it's still business as usual at We are following the two, hand-held, as the PoLicE leads LIVING ROOM The room is filled with policemen milling about in several The original POLICEMAN is leading NATHAN to a table The dialogue is urgent, rapid-fire and overlapping. POLICEMAN: Mr. Byrum here can take your exemplars MR. ByRum has taken NATHAN's right hand and is rolling its BYRUM: just let your hand relax; I'll do the work. NATHAN jerks his hand away. NATHAN: What is this?! I didn't steal the damn kid! Two men in conservative suits are approaching. POLICEMAN: Sir, these men are from the FBI- NATHAN (bewildered): Are you boys crazy?! ARs I know BYRUM (patiently): We just need to distinguish your Giving his hand back: NATHAN: Course! I know that! FBI 1: Sir, we have an indication you were born Nathan NATHAN: Yeah, I changed m'name; what of it? FBI 2: Could you give us an indication why? NATHAN: Yeah, would you buy furniture at a store FBI 1: All right, I'll get to the point- UNIFORMED COP: Was the child wearing anything NATHAN: No one sleeps nekkid in this house, boy! He FBI 1: I'm asking the questions here, officer. COP: If we're gonna put out an APB we need a NATHAN: He was wearin' his- FBI 2: It's just that we're better trained to intervene in NATHAN: A dinner jacket! Wuddya think, he was FBI 2 (to cop): The child was wearing his jammies. Are FBI 1: Do you have any disgruntled employees? NATHAN: Hell, they're all disgruntled! I ain't runnin' a COP: What did the pyjamas- NATHAN: My motto is do it my way or watch your COP: What did the pyjamas- FBI 1: So you think it might have been an employee? NATHAN: Don't make me laugh. Without my say-so COP: What did the pyjamas look like? FBI 1: (pained): Officer- NATHAN (bellowing): I dunno, they were jammies! They BELLOWING VOICE OFFSCREEN: Would ya mind, I'm NATHAN bellows back: NATHAN: Get your feet off m'damn coffee table! Also raising his voice at the offscreen bellower: FBI 1: Ron, you're upsetting the victim. NATHAN is getting worked up. NATHAN: Damnit, are you boys gonna go chase down FBI 2: Sir, there aren't any "leads" yet, aside from this NATHAN: Gimme that! He grabs the overcoat being displayed by FBI 2. NATHAN: That's a five-hundred-dollar camel's hair- BYRUM: Sir, you might want to wash your hands at this NATHAN realizes that he's gotten ink from his fingerprinting NATHAN: Well goddamnit! He is rising to his feet and hurling the coat to the floor. ... No leads?! He furiously kicks the coat. ... Everyone leaves microbes'n whatnot! Throughout the speech NATHAN stalks the room, working ...Hell, that's your forte, trackin' down them A HOLE IN THE GROUND DAY Specifically, it is the hole in the muddy patch of earth that We are pulling back to reveal the feet-the shiny black German shepherds sniff around also. With a roar, motorcycle wheels enter frame. The bike's He backs toward the camera and stops, standing astride the The whipcracking BIKER cue mixes up. The BIKER'S We are now framed looking over the BIKER'S shoulder. The Suddenly, with a loud whipcrack effect, the BIKER's head The dogs milling around the hole also react, snapping to THEIR POV A jackrabbit is bounding away at the far end of the field. THE DOGS After a moment, their attention returns to the hole. THE BIKER His attention also returns to the matter at hand. He squints, We pan down to the tattoo on his shoulder: "Mama Didn't TRAILER KITCHEN CLOSE ON GALE AND EVELLE They are both intently munching cornflakes, staring at EVELLE: ... Awful good cereal flakes, Miz THEIR POV ED is sitting in the living room, bottle-feeding NATHAN JR. GALE puts his spoon down and picks up a cigarette which He takes a contemplative puff, studying ED. GALE: ... Whyncha breast feed him? You 'pear to be ED: Mind your own bidnis. Through a mouthful of cornflakes: EVELLE: Ya don't breast feed him, he'll hate you for it GALE blows out smoke and picks up his spoon to start back in GALE: Anyway, that's what Doc Schwartz tells us. Hi is walking in, yawning. HI: Boys. EVELLE: Momin', H.I. Sharply, as Hi sits and starts to pour cornflakes into a bowl: ED: ... Hi. Hi holds the cornflakes box arrested in mid-air. He looks at HI: Oh yeah ... Say boys, you wouldn't mind makin' ED: We're havin' some decent friends over. GALE and EVELLE are looking dumbly from ED to HI. HI: Heh-heh ... What Ed means to say is, seein' as GALE: Sure H.I. EVELLE: Anything you say. More relaxed now, to ED: HI: Matter of fact honey, maybe I'll skip this little get- GALE: Sure H.I. EVELLE: We'd love to have ya. CLOSE ON ED Looking pleadingly at Hi. BACK TO HI Feeling the look, he goes back to his cornflakes. HI: ... Well ... maybe that ain't such a hot idea GALE leans back to blow smoke at the ceiling. GALE (bitterly): So many social engagements. So little WIDE SHOT GAS STATION RATNROON It is the bathroom where we earlier saw GALE and EVELLE We are looking toward the door. The bathroom is quiet Suddenly we hear the screech of the bike's brakes. EXT THE STATION We are on the road outside the gas station as the motorcycle The BIKER pauses for a moment, thinking or feeling. BACK TO INT BATHROON We hear the rumble of the bike approaching, very loud. HI'S POV Fast track in on the jar of hair jelly sitting on the shelf under BACK TO BIKER An extreme close shot shows his nostrils dilating as we hear He revs the rumbling bike, stealing thunder from a far FRONT STOOP OF TRAILER Hi, with ED standing by, is just opening the door to a young HI: Glen, Dot- As the door opens, DOT hops up the stoop shrieking. DOT: Where's at baby? Where's he at? From behind, GLEN gives ha an energetic THWOK on the ass. GLEN: Go find him honey! DOT spins and smacks GLEN across the face with her purse. Through clenched teeth: DOT: Cut it out, Glen! He reels under the blow. ED (quietly): He's asleep right now. DOT shrieks again, but this time muffles it with her own GLEN, rubbing his cheek, seems angry at himself. GLEN: Shit, I hope we didn't wake it! DOT: Can I just sneak a peek-a-loo? GLEN at the top of the stoop, turns out to the yard. GLEN: Come on kids ... WIDE SHOT GLEN AND DOT'S KIDS A scad of children, ranging in age from two to seven, are GLEN: ... Get away from Mr. McDunnough's car. TRAILER BEDROOM AS ED and DOT enter, ED beaming as they go to the crib. DOT: What's his name? ED: Uh ... Hi Jr. TiR we think of a better one. DOT: Whyncha call him Jason? I love Biblical names. If ED: Oh!- She puts her hand to her forehead, reacting to the baby as if ... He's an angel! She hides her face in her hands and looks away as if blinded, ... He's an angel straight from heaven! Now honey I ED: Well- DOT: You gonna send him to Arizona State? TRAILER LIVING ROOM/KITCHEN The weaving knee-level tracking shot is following a six-year- The track weaves off him and onto Hi, who is bending HI: Need a beer, Glen? GLEN: Does the Pope wear a funny hat? Hi considers this. HI: ... Well yeah, Glen, I guess it is kinda funny. GLEN: Say, that reminds me! How many Pollacks it HI: I don't know Glen, one? Hi looks down. One Of GLEN'S children, in a cowboy hat, is squirting a GLEN: Nope, it takes three! He starts laughing, then catches himself. ... Wait a minute, I told it wrong. Here, I'm startin' HI: I don't know, Glen. GLEN: Cause they're so durn stupid! He laughs; Hi doesn't react. ... Shit man, loosen up! Don't ya get it? Hi looks over at the TV, which the bam-shouting six-year-old HI: No Glen, I sure don't. GLEN: Shit man, think about it! I guess it's what they HI: Why's that? GLEN: Cause you only get it on the Way Home. HI: I'm already home, Glen. The kid in the cowboy hat is reaching up to slap Hi on the ass. KID: You wetchaseff! Mr. McDunnough wet hisseff, Daddy! GLEN: Say, that reminds me! How'd you get that kid He takes a sip of beer. ... Yeah, it's a crazy world. HI: Someone oughta sell tickets. GLEN: Sure, I'd buy one. Hi is looking at another child who is just finishing off the T in GLEN chuckles, looking at his errant child. ... That Buford's a sly one. Already knows his ABCs. HI: Well this whole thing is just who knows who and GLEN: Well maybe she can do something for me'n Dot. HI: Uh, Ed-Ed Jr. GLEN: Thought you said he was a boy. HI: Well, as in Edward. Just like that name. GLEN (not really interested): Yeah, it's a good one . . . nffe is the sound of shattering glass. GLEN looks around. GLEN: Mind ya don't cutchaseff, Mordecai ... EXT PICNIC GROUNDS DOT faces Hi and ED across a picnic table covered with grilled One of the younger children sits in the middle of the table, DOT: -and then there's diphtheria-tetanus, what they ED: We ain't exactly fixed on one yet. Have we Hi? Hi sits stock-still with a stony face. ... No, I guess we don't have one yet. DOT shrieks. DOT: Well you just gotta have one! You just gotta have ED: Yeah, what if the baby gets sick, honey? DOT: Her, even if he don't get sick he's gotta have his ED: He's gotta have his dip-tet, honey. Hi shrugs, then flinches as a piece of jello hits his shoulder. HI: ... Uh-huh. DOT: You started his bank accounts? ED: Have we done that honey? We gotta do that DOT: That-there's for his orthodonture and his college. Hi sits stoically. DOT is looking offscreen: ... Reilly, take that diaper off your head and put it ED: You done that yet honey? DOT: You gotta do that, Hi! Ed here's got her hands Hi (dully): Yes ma'am. DOT: What would Ed and the angel do ff a truck came ED: Yeah honey, what if you get run over? DOT: Or you got carried off by a twister? LAKESIDE PATH We are tracking on Hi and GLEN as they walk side by side. GLEN: Hear about the person of the Polish persuasion GLEN bursts out laughing; Hi walks on in silence. HI: ... Yeah, that's funny all right ... GLEN: Ya damn right it's funny! Shit man, what's the HI: I dunno ... maybe it's wife, kids, family life ... I GLEN (solemnly): Eeeeeyep ... I do know the feelin'. Hi shakes his head. HI: I dunno- GLEN: And I told Dottie to lose some weight but she He roars with laughter and slaps Hi heartily on the back. As ... No man, I know what you mean. You got all kinds HI: Yeah Glen, I guess that's it. GLEN: Okay! That's the disease, but there is a cure. HI: Yeah? GLEN: Sure; Doctor Glen is tellin' ya you can heal HI: What do I gotta do? GLEN: Well you just gotta broaden your mind a little HI (puzzled): Fine woman you got there. GLEN is eyeing him shrewdly. GLEN: Okay. Now it might not look like it, but lemme HI: That right? GLEN: T-I-G-E-R. HI: But what's that got to do with- GLEN: Don't rush me! He stops walking. Hi stops also, looking at GLEN, Still ...Now the thing about Dot is, she thinks-and she's He looks around as if to make sure they are not being ... she thinks ... you're cute. Hi looks suspiciously at GLEN's hand on his shoulder. HI: ... Yeah. . . ? GLEN nods energetically: GLEN: I'm crappin' you negafive! And I could say the Through tightly clenched teeth: HI: What're you talkin' about, Glen? GLEN: What'm I talkin' about?! I'm talkin' about sex, Beaming, he takes his hand off Hi's shoulder and spreads his GLEN: I'm talkin' about the Sex Revolution! I'm talkin' THWAK-Hi's fist swings into frame to connect solidly with GLEN'S feet leave the ground. He flies back and lands in a LOW-ANGLE REVERSE GLEN in the foreground, groggily rubbing his jaw; Hi HI: Keep your goddamned hands off my wife! GLEN: Shit man! He is scrambling to his feet. ... I was only tryin' to help! HI: Keep your goddamned hands off my wife! With Hi still advancing, GLEN starts to run. TRACKING ON GLEN With Hi pursuing in the background. GLEN is looking back over his shoulder to shout at Hi as he GLEN: You're crazy! I feel pity for you, man! You- CRASH!-GLEN runs smack into a tree and drops like a sack INT CAR NIGHT Hi is driving, his jaw rigidly set, his temple throbbing. NATHAN J.R. sits in a safety seat between him and ED. ED: We finally go out with some decent people and Hi (stolidly): His kids seemed to think it was funny. ED: Well they're just kids, you're a grown man with HI: He was provokin' me when I popped him. ED: How'd he do that? HI: ... Never mind. ED: But HI, he's your foreman, he's just gonna fire you HI: I expect he will. ED: And where does that leave me and Nathan Jr.? HI: With a man for a husband. He is pulling into a convenience store parking lot. ED: That ain't no answer. HI: Honey, that's the only answer. He puts the car in park but leaves it running. ... Nathan needs some Huggies. I'll be out directly. As he gets out of the car: ... Mind you stay strapped in. INT STORE CLOSE SNOT LOEGGS RACK A hand enters to take a package of panty hose from the CLOSE SHOT HUGGIES A hand enters to take a big carton of disposable diapers from CLOSE UP CASHIER A pimply-faced lad with a paper 7-Eleven cap on his head. He HI'S POV Hi is approaching the check-out island with a gun in one HI: I'll be taking these Huggies and whatever cash you CLOSE SHOT CASHIERIS HAHD As he presses a silent alarm under the lip of his counter. EXT CAR ED is reading to NATHAN JR. from a large picture book. ED: "'Not by the hair of my chinny-chin-chin. "Then She pauses for a moment, listening. We can barely hear a ". . . and I'll blow your house in . . .'" We can definitely hear the WHOO-WHOO of the siren now, HER POV Indistinctly visible through the semi-reflective glass are two BACK TO ED As the siren is growing louder. Under her breath: ED: That son of a bitch. She unstraps herself and gets out of the car. INT STORE Two-shot of Hi and the CASHIER, who is stuffing bills into a Her shout is muffled through the glass: ED: You son of a bitch! With this Hi notices her. He turns to the CASHIER. HI: Better hurry it up. I'm in dutch with the wife. But ED is already getting into the driver's seat of the car. BACK TO ED As she slams the car door shut. The siren is quite loud now. ED: That son of a bitch. Hang on, pumpkin. The car squeals out of the lot. WIDE SHOT THE STREET The squad car tops a rise to bounce into view, its siren BACK TO THE STORE Hi bursts out the door, still wearing the stocking. The carton Bellowing hopefully after his departing car: HI: Honey! We hear the SMACK-CRACK of a gunshot and glass impact, Hi looks around the parking lot, bewildered. The wailing siren is becoming painfully loud. Hi looks behind him at the plate-glass front of the store, HIS POV Through the glass we see the pimply young CASHIER with the SMACK-CRACK-the bullet kisses another hole in the Hi is off and running. The squad car is screeching into the lot. An officer tumbles At the same time the little CASHIER is emerging from the 7- The two bang away at Hi's retreating figure-the POLICEMAN's revolver popping, the CASHIER'S Magnum We hear the POLICEMAN who is still in the car drawling SPEAKER: Halt. It's a police warning, son. Put those TRACKING ON HI Legs pumping, panty hose still over his head, its unused leg Behind him we can see the OFFICER and the CASHIER ED'S CAR Driving. She hears distant gunshots. ED: That son of a bitch . . . Hold on, Nathan. We're She hangs a vicious U-turn. TRACKING ON HI Huffing and puffing down the road with his Huggies. The PASSENGER COP is leaning far out his window, one Bullets whizz past. Suddenly, with a soft pthunk! the Huggies box pops He turns and reaches to pick up the box but-PING- Leaving the Huggies, Hi takes off through a well- The police car is proceeding on down the street to catch him SPEAKER: That's private property, son. Come back out YARD Hi vaults a fence to land in the backyard. As he straightens to his feet we hear a horrible snarling A huge black Doberman is bounding across the lawn. It LOW TRACKING SHOT TOWARD HI The dog's racing POV as it bounds toward the paralyzed Hi. The dog leaps-camera flying up toward Hi's face-and: CLOSE SHOT HI'S FROZEN PROFILE The dog's slavering muzzle flies into frame and-stops, bare Hi resumes running. CLOSE On the dog, snarling and straining against the end of his TRACKING Down along the chain toward the spike mooring it to the Other dogs can be heard barking now, the Doberman ED'S CAR Her jaw set, she takes a hard turn, looking this way and that. ED: That son of a bitch ... The police car approaches and roars by, the PASSENGER COP ... Lookie Nathan, a police car ... She is looking in her rearview mirror. ... Say, that looks like Bill Steensma. LOW TRACKING SHOT The camera is shooting forward at ground level, following the Far ahead we can see Hi running, then turning down an A second dog peels into the road to bound along with the TRACKING BEHIND HI Running up a dark street. There is an oncoming pickup. Hi INT PICKUP The DRIVER screams and brakes-not quite in time. Hi rolls onto the hood, and off, and gamely trots over to The DRIVER is leaning over to tell him: DRIVER: Son, you got a panty on your head. HI: Just drive fast . . . He is displaying his gun as he starts to climb in. ... and don't stop till I tell ya. Before Hi can get his door shut the DRIVER is obediently Hi is reacting to an oncoming car. He peels the stocking off HI: ... Honey! Hi turns to look through the back window. HIS POV ED'S car is braking and spinning into a U-turn. BACK TO HI Leaning out the window. HI: Mind the baby now! Next to him, the DRIVER is screaming. As Hi turns forward, the entire windshield explodes in. THEIR POV The pimply-faced CASHIER from the 7-Eleven is standing in We are rushing in. THE DRIVER Still screaming. THE CASHIER Ready to fire and-THUMP-he is bowled over by the Still screaming, the DRIVER puts his body into a hard right NEW STREET Roaring up the new street, they are now directly in the path Still screaming, the DRIVER leans into another hard right. Two wheels hop curb as the car skids into the new street, ED'S CAR She hears dogs, siren, squealing brakes on an adjacent street. ED: Hold on Nathan, we'll take a shortcut. She gives the wheel a hard right turn. But there is no cross street. The car hops the curb and roars POLICE CAR Recovered and turned around from its near collision with the As the police car roars down the street, ED'S car appears SCREAMER'S PICKUP Raking two-shot of Hi and the SCREAMER. Hi is looking back Desperately pleading: SCREAMER: Can I stop now? Hi looks forward. HIS POV They are rushing toward an imposing colonial house planted BACK TO HI HI: Maybe you better. CLOSE SHOT BRAKE PEDAL Stepped on hard. The brakes scream. EXT CAR As the car squeals to a halt Hi is catapulted through where the He rolls to his feet and, as he runs up the lawn, calls back HI: Thank you. INTO THE HOUSE We are tracking behind Hi as he runs up to the house and Still tracking behind him as he runs through the living A middle-aged couple sits on the couch watching TV. They Hi plunges down a staircase. As he does so we hear: ka- He emerges into a rec room where he and we rush past two TRACKING WITH THE POLICENAN As he runs into the house. As he runs through the living room we catch a glimpse of OFFICER STEENSMA plunges down the stairs. TRACKING ON HI Outdoors now, running, crossing the street behind the house BACK TO THE HOUSE As a pack of dogs thunders in. The lead Doberman with chain The dogs thunder through the living room and down the INT SUPERMARKET As Hi bursts in. Tracking on him as he runs down the broad He turns up one of the last lanes, races along it and grabs a He emerges into the broad back aisle and runs along it, but Hi keeps running. The POLICEMAN is running along the front aisle, keeping Hi abruptly stops between lanes and doubles back, losing The pack of dogs appears at the end of the lane and Hi reverses again, and emerges into the back aisle. Hi plunges down the next lane but is brought up short as Hi looks. Standing in the raised platform-cubicle at the front of the The MANAGER cracks open his shotgun and inserts two Hi doubles back once again toward the back aisle. He is still several paces from the end of the lane when the The POLICEMAN is in front of him. The MANAGER is CLOSE ON POLICEMAN As he coolly levels his police special and takes aim at Hi. POLICEMAN'S POV Still on the dead run, Hi is flinging the carton of Huggies. The carton rockets straight at the camera. BACK TO POLICEMAN Futilely raising his gun to avoid-impact: The Huggies catch CRASH-He is hit broadside and bowled over by a TRACKING ON SHOPPER Racing on down the back aisle, bellowing. HER FEET Tracking from in front. Beyond her we can see the pack of EXT STORE As Hi emerges through the back door. ED is just skidding Hi scrambles in the passenger side. INT CAR Raking two-shot with Hi in the foreground. The car peels out HI: Thank you honey, you really didn't have to do THWAK-ED gives him a good hard slap and Hi's head rolls ED: You son of a bitch! You're actin' like a mad dog! Rubbing his jaw: HI: Turn left, honey. Still at top speed, she leans into a hard left, tires squealing. ED: What if me'n the baby'd been picked up? Nathan HI: Nawww honey, it ain't armed robbery if the gun ED: What kind of home life is this for a toddler?! You're HI: Now honey, I never postured myself as the three- ED: We got a child now, everything's changed! HI: Well Nathan Jr. accepts me for what I am and I ED: I know, but honey- HI: See I come from a long line of frontiersmen and- Hi's eyes are fixed on something in the road ahead. ED: I'm not gonna live this way, Hi. It just ain't family Hi's attention is still on the road. He is opening his door, HI: Well ... It ain't Ozzie and Harriet. LOW ANGLE THE STREET In the extreme foreground sits the first carton of Huggies that As the car passes the carton, Hi's hand reaches from the REVERSE As Hi pulls the carton in and slams his door shut. Crane up TRAILER LIVING ROOM AS ED bursts in the front door, holding NATHAN JR. ED: You two are leaving. ON GALE AND EVELLE They look up, dumbstruck and mortified, from the sofa where ED: Tomorrow morning. Now I got nothing against GALE and EVELLE look appealingly toward Hi, who shifts ED: ... but you're wanted by the authorities and GALE: Well ma'am ... we sure didn't mean to EVELLE: And if we did, we apologize. ED is unmoved. ED: I'm goin' in to town tomorrow to see about some She storms into the bedroom and slams the door. There is an awkward silence as GALE studies his thumb and EVELLE stares at the ceiling. Finally EVELLE turns to Hi. EVELLE: ... What's he need, his dip-tet? HI: I'm awful sorry boys, but when Ed gets mad, you GALE: Well there ain't a thing to apologize for, H. 1... He looks at EVELLE. ... It seems pretty clear what the situation is here. EVELLE: Yeah, I guess the Missus wants us to clear out. GALE: Now H. I., you'll pardon me for sayin' so, but I His gesture seems to take in the trailer and the entire ... ain't exactly workin' out. HI: Well now Ed's generally a real sweetheart, I- GALE: And as per usual, I wouldn't be surprised if the HI: Well, matter of fact, I did lose my job today- EVELLE: Come on Hi. you're young, you got your GALE: But look, I'd rather light a candle than curse EVELLE: A bank, Hi. Hi is shaking his head. HI: Aw boys, I don't- GALE: I know you're partial to convenience stores but, EVELLE: It's like Doc Schwartz says: You gotta have a GALE: And here you are sittin' around on your butt HI: Well now that ain't really any of your- GALE: Just lookahere ... He is handing Hi a folded-up picture. EVELLE: Picture of El Dorado, Hi. GALE: Though the locals call it the Farmers and EVELLE: And guess what day it is tomorrow? GALE: Ya see, H. I., it's when the hayseeds come in to EVELLE: A-One information. GALE: Got it in the joint from a guy named Lawrence EVELLE: He's in for sohcitin' sex from a state trooper. GALE: Ordinarily we don't associate with that class of GALE chuckles. ... he was tryin' to make brownie points with some.of HI: Boys, I can't- EVIELLE: We need someone handy with a scatter-gun to GALE: Y'understand, H.I., if this works out it's just the EVELLE: Either way we're fixed for life. Hi is still shaking his head. HI: Boys, it's a kind offer, but you're suggesting I just GALE: Would it? Think about it, H. I. Seems to me, The camera has floated in to a close shot Of Hi, staring glumly TRACKING ON MOTORCYCLE NIGHT Following it, very close, we see only its rear wheel and fender HIGHER TRACKING SHOT From behind the BIKER's head as he rides through the night. With the sharp whipcrack effect he suddenly looks left, He banks into a turn. EXT TRAILER Creeping in. Late at night. We are tracking in toward the one In voice-over, Hi is composing a letter. VO: My dearest Edwinna. Tonight as you and Nathan DISSOLVE THROUGH TO: INT TRAILER Creeping in on Hi's hunched back, as he sits over the kitchen VO: ... I hope that you will both understand, and DISSOLVE THROUGH TO: LIVING ROOM Creeping in on GALE and EVELLE, sprawled on the sofa and VO: ... I will never be the man that you want me to DISSOLVE THROUGH: BACK TO Hi Still creeping in. VO: Maybe it's my upbringing; maybe it's just that my DISSOLVE THROUGH TO: INT 7-ELEVEN Creeping in on the pimply-faced CASHIER, sitting asleep VO: But the events of the last day have showed, We are slowly panning over to the newspaper rack, revealing ... in the manner befitting a responsible adult, and DISSOLVE THROUGH TO: ARIZONA HOME Creeping in on NATHAN SR. in the living room, asleep in his His robe is disheveled; his eyeglasses have slid down his VO: . . . I say all this to my shame. DISSOLVE THROUGH TO: TRAILER BEDROOM Creeping in on ED and NATHAN IR., asleep together in the VO: . . . I will love you always, truly and deeply. But I We start to hear the rumble of the motorcycle mix up again. ... on the heads of you and Nathan Jr. DISSOLVE THROUGH TO: BLACKNESS Night sky. The motorcycle tire enters frame as the bike comes The engine rumbles. VO: I feel the thunder gathering even now; if I leave, We are craning up over the BIKER's back to reveal what he is I cannot tarry ... DISSOLVE THROUGH: BACK TO HI Still creeping in. VO: Better I should go, send you money, and let you FADE OUT FIRE Roaring at the cut. Through it we can see the BIKER sitting We are floating in toward him. As we come closer, eventually drawing in to a close shot of CLOSE SHOT DOOR MAT It reads: "Come On In! To Unpainted Arizona." The smoking butt of a cheroot is dropped onto the mat. A CLOSE SHOT BAR ON GLASS DOOR Leading into the showroom. The BIKER'S mail-and-chained LOW WIDE TRACKING SHOT Behind the jackboots as they stroll through a showroom of TRACKING ON THE MAILED HAND Swinging as he walks, the BIKER's hand produces a fresh THE OTHER HAND Similarly producing a long wooden match. DISCOLORED TEETH Biting down on the cigar. HAND Dragging the kitchen match along the unfinished wood CIGAR Crackling as it is lit. DOOR Reading "Executive Offices. " The mailed fist pushes it open. PEBBLED GLASS DOOR From the inside of the office. The name on the pebbled glass is There is the shadow of a man approaching the door, and SECRETARY'S VOICE: I'm sorry, Mr. Arizona, he just The door swings open and NATHAN stands looking in, his . . .Should I call Dewayne? NATHAN is staring toward his desk. NATHAN: Hell no, why wake the security guard. I'll The secretary leaves. NATHAN'S POV The BIKER Sits with his back to us, jackboots propped lazily on His head bobs and ducks, as if he is following some BACK TO NATHAN Eyes on the BIKER he slams the door shut behind him, looking BIKER No reaction. His head continues to bob and duck. BACK TO NATHAN Circling the BIKER as he crosses to sit behind his desk. HIS POV Arcing around to reveal the BIKER'S face. He still does not When the BIKER speaks it is still without looking at BIKER: You got flies. He finally looks at NATHAN, and smiles faintly. NATHAN: I doubt it. This place's climate-controlled, all BIKER: Name of Leonard Smalls. My friends call me He takes a drag on his cigar. . . .Only I ain't got no friends. NATHAN: Stop, you'll make me bust out crying. Listen SMALLS is pleasantly shaking his head. SMALLS: Nooo, I ain't a customer, I'm a manhunter. NATHAN: What do you know about it? SMALLS: Wal, that's my business. I'm a tracker-part NATHAN: Mister, I got the cops, the state troopers and SMALLS: Cop won't find your boy. Cop couldn't find NATHAN: Smalls, first off, take your damn feet off SMALLS: Price. Fair price. And that ain't whatever you NATHAN is looking at him stonily. NATHAN: What're you after? SMALLS: Give you an idea, when I was a lad I m'self Quick as a flash the heretofore languid SMALLs bolts forward, EXTREME CLOSE SHOT SMALLS' FINGERS His index finger and thumb are pinched together-holding SMALLS: ... and the people that took him . . . He flicks the fly away. ... I'll kick their butts. He sits back down. . . .No extra charge. NATHAN stares grimly at SMALLS. NATHAN: And if I don't pay? SMALLS: Oh I'll get your boy regardless. Cause if you NATHAN: You wanna know what I think? I think NATHAN swivels to punch numbers on a telephone. ... I think I'm on the phone to the cops right now, He swivels back, looking up, and his speech stops short. HIS POV The office is empty. A whipcrack effect builds to the cut and: CLOSE ON HI His eyes snap open as the whipcrack echoes away. He has been slumped over the kitchen table, asleep. GALE (OS): Up and attem, H. I. Today is the first day of EVELLE (OS): . . . and already you're fuckin' it up. Hi looks up. GALE and EVELLE are smiling down at him. EVELLE: Come on, the missus'll be back from town Hi takes the envelope that he was slumped over, TO ED HI: Where's the baby? EVELLE: Bedroom, in his crib. GALE: He's sawin' toothpicks, he'll be fine. There is a harsh knock at the door. All three tense. ... You expectin' anybody? Hi is staring. The knock comes again. HI: No. You two stay outta sight. He goes to the door, pulls back its shade and peeks out. Under HI: Shit. He opens the door. EXT TRAILER It is GLEN. He backs nervously down to the foot of the stoop He is wearing a neckbrace. The bridge of his eyeglasses is His station wagon is parked behind him, idling. HI: Morning Glen. GLEN speaks in a very nasal voice: GLEN: I ain't comin' in if ya don't mind. I'll just keep HI: I didn't invite you in, Glen. GLEN: Well don't even bother. First off, you're fired- HI: I kinda figured that, Glen. GLEN: Well that ain't why I'm here neither. No sir. Hi is looking at him evenly. HI: Why don't you just calm down, Glen. GLEN: Why don't you make me?! Know that little baby Hi is suddenly nervous and urgent: HI: Wanna keep your voice down, Glen? GLEN: I'll pitch my voice wherever I please! His name Hi takes one step down holding out a calming hand. ... Stay away from me, McDunnough! HI stops short. GLEN smiles. GLEN: ... Sure, you're an awful big man when you HI: (softly): I ain't a big man. GLEN: That's right! And now you're at my mercy! He spits on the dirt in front of him. ... I'm your worst nightmare! I wanted to just turn Hi's face is set in rigid dismay. ... I'll give you a day to break the news to Ed ... GLEN is getting into his car. ... Dot'll be by tomorrow to pick him up. He slams the door. ... It's either that or jail. Oh and say, that reminds And the car squeals off. Hi looks back at the trailer. HIS POV A slat in the window blind drops back into place. BACK TO Hi He opens the door. INT TRAILER EVELLE is already emerging from the bedroom with the baby Hi moves toward EVELLE. His teeth are set; he means HI: What's goin' on here. GALE Steps in front of Hi. GALE: You know what's goin' on, H.I. It's just Hi gives GALE a hard push to get past him. GALE staggers HI flips GALE. GALE lands on a coffee table which flips up EVELLE is dancing back out of Hi's reach. As Hi lunges for Hi goes down hard. GALE leaps to his feet and-CRASH-bangs his head up THOOMP-Hi's fist flies into frame to connect with GALE'S unguarded stomach. GALE doubles over, clutching at Hi interlaces his fingers to make a club of his two hands. With GALE's bowed head a target in front of him, Hi swings Hi's knuckles scrape painfully against the plaster of the too- Hi grabs at his knuckles in pain. GALE lunges with a mid- GALE, still on top of him, reaches back to throw a punch. The reach-back sends his elbow crashing through a window It connects with Hi's jaw. GALE throws another quick punch, all his weight behind it. Hi's head bobs sideways just in time and GALE'S fist goes Hi uses the opportunity to grab GALE'S one free arm with Hi climbs aboard, grabbing GALE'S face. GALE, still roaring, is pulling his fist out of the hole. He GALE is rampaging around like a.Qrizzlil bear hemmed in a Close shots Of GALE'S face show his features impossibly and EVELLE is dancing around with the baby, dodging crashing EXT WIDE SHOT THE TRAILER At the cut GALE's roaring drops out. We hear the chirping of It is a sunny day. BACK TO INT TRAILER GALE still roars. With a last mighty effort, he finally swings Hi crashes against a wall and through it to land in the: BATHROOM Amid a shower of plaster dust and lath. Hi has landed, EVELLE enters now with his hands free, apparently having He yanks the cord off the bathroom blinds. LIVING ROOM Hi is seated in a straight-back chair, still violently struggling EVELLE is just finishing tying off his wrists behind the chair. No one talks; there is nothing left to say. Finished, GALE goes to the door and EVELLE goes to the Hi starts bucking and struggling, weeping tears of rage and His profile is pressed into the carpet. Offscreen we hear the door of the trailer opening. HI'S POV At carpet level. GALE'S shoes enter his field of vision. They OBJECTIVE SHOT As GALE paws through the wreckage to expose the copy of Dr. HI'S POV The feet walk away and leave his field of vision. CLOSE ON HI As we hear the door slam shut with horrible finality. Hi's mouth stretches wide. He ROARS with grief and WIDE SHOT Moving down the road toward an oncoming car. As the As the car passes we pan with it, to reveal that we have ED: ... Good. QUICK FADE OUT INT DEVASTATED TRAILER AS ED sits heavily into frame, apparently in shock, her frozen Her foreground hand absently holds a length of cord. Beyond her in the middle background Hi is rummaging in HI (frantically): I know you're worried honey but He snaps the chamber shut and leaves frame, still talking. ... We'll get him back, that's just all there is to it. And He is walking back into frame holding another handgun now ... I'm gonna be a better person from here on out. He snaps a clip into the automatic. HI: ... A blind man could tell you that. Now they Hi is leaving frame again, continuing to talk as we hear him ... But I ain't like that no more, I'm a changed man. Hi enters frame with the two handguns stuck in his belt, ... So let's go honey ... He primes the shotgun: WHOOSH-CLACK. ... Let's go get Nathan Jr. TRACKING SHOT From the front bumper of an automobile. Beautiful desert GALE AND EVELLE'S CAR GALE drives, gazing out at the road. EVELLE holds NATHAN GALE: I luuuuv to drive. EVELLE: You said somethin' there, partner. GALE: ... Yessir, I figure with the ransom and this EVELLE is looking down at the baby, shifting him in his lap. EVELLE: Uh, Gale. . . Junior had a, uh, accident. GALE: What's that, pardner? EVELLE: He had a little accident. GALE looks over. GALE: Wuddya mean, he looks okay. EVELLE: No, ya see ... Movin' though we are, he just GALE: Well it's perfectly natural. EVELLE (very excited): Hey Gale! GALE: What now? EVELLE, beaming, looks up from the baby to GALE. EVELLE: ... He smiled at me! THE SUN A huge rumbling rippling red ball that fills the frame. The rumble builds, louder and louder, until it is snapped INT TRAILER -CLICK. The front door handle clicks open and SMALLS The room is a complete shambles from the fight. Sunlight After only a momentary pause at the door to take in the He bends down to pick it up but suddenly freezes, with a HIS POV At knee-height on the wall in front of him, "FART" is BACK TO SMALLS As he stands up with the piece of paper. THE PAPER It is GALE'S picture of the Farmers and Mechanics Bank. INT CONVENIENCE STORE Close on a carton of diapers being set down on the check-out EVELLE (os): Know how you put these thangs on? WIDER EVELLE and the CASHIER, a late-middle-aged man (perhaps Through the open door beyond them we can see a strip of CASHIER: Welp. Around the butt, then up over the EVELLE: I know where they go, old timer. I mean do I We see GALE trotting past through the visible part of the CASHIER: Well no, they got those tape-ettes already on EVELLE: Uh-huh . . . He takes a plastic-covered squirt gun off a display rack and . . .These blow up into funny shapes at all? GALE is trotting by in the opposite direction: "Weeeeee!" CASHIER: Well no. Unless round is funny. EVELLE is pulling a gun out of his belt. EVELLE: All right, I'll take these too. Now you lie down CASHIER: Yessir! EVELLE: -and don't you move till you've counted up The CASHIER is already down on the floor, out of frame. CASHIER (OS): You the diaper burglar? As he heads for the door with the groceries: EVELLE: Looks like I'm one of 'em. EXT STORE AS EVELLE hurriedly emerges with the two bags. Faintly we EVELLE: Get the door, will ya? GALE is slipping the baby back into his car seat, which sits on GALE: He's a real cheerful little critter once he warms Hands free now, GALE reaches for the back door. EVELLE: Hurry up Gale ... GALE has the door open. EVELLE starts throwing in the I don't know how high this one can count. GALE AND EVELLE'S CAR GALE drives as EVELLE sorts through his purchases. EVELLE: Got him some baby grub ... baby wipes . . . GALE: They blow up into funny shapes at all? EVELLE: No, just- GALE is looking around, puzzled. GALE: Say, where's Junior? EVELLE: Wuddya mean, didn't you put him in?! GALE: No, I thought- The two men look at each other. REVERSE The two men's heads whip around to look in the back seat. BACK TO FRONT ANGLE They look at each other in horror. GALE: Where'd we leave hirn?! The two men's eyes widen as they remember at the same time: CLOSE ON GALE'S FOOT Coming off the accelerator. CLOSE ON EVELLE Screaming as he watches the foot: EVELLE: NOOOOOO!! -But too late. GALE'S FOOT Already plunging down on the brake. SQUEEEEEEEAL . . . TWO SHOT EVELLE is screaming at the top of his lungs as the car rocks to He cranes his neck to look up the slant of the windshield With this GALE'S last hope disappears and he starts GALE'S FOOT Rising from the brake to plunge down on the accelerator. EXT THE CAR As it hangs a squealing U-turn and races off at top speed. LOW WIDE SHOT In the foreground NATHAN JR. sits upright in his car seat, in Faintly, we hear the CASHIER bellowing: CASHIER: ... Seven hunnert ninety-seven one GALE AND EVELLE In their speeding car, both staring out at the road ahead, INT STORE Shot faces the front of the store with some of the street visible CASHIER: ... Seven hunnert ninety-one one thousand, He rises into frame, back to the camera, just as: We see GALE and EVELLE'S car, through the front window, . . .Seven hunnert ninety-ought one thousand! Seven The car is starting to squeal to a screaming halt. BACK TO LOW WIDE SHOT With NATHAN JR. in the foreground. GALE and EVELLE'S car EVELLE's door is already open. He bolts from it and runs EVELLE: Promise we ain't never gonna give him up, GALE, choked up, speaks in a low unsteady voice: GALE: We'll never give him up, EveRe. He's our little Hi AND ED"S CAR Hi driving. Both are staring wordlessly ahead at the road. Hi looks over at ED, glum but trying to be kind. HI: ... Ed, I realize I can't be much of a comfort to He is nodding to himself. ... You'll feel a whole lot better when- ED: I don't wanna feel better. HI: Honey- ED: I don't care about myself anymore. I don't care HI: I know that- ED: If we don't get him back safe, I don't wanna go on This shuts Hi up. After a moment: ED: ... I guess I still love you Hi; I know I do. I ain't Hi clears his throat. HI: Well, factually, I myself bear a very large- ED: Lemme finish. Since those jailbirds took little Constitution of the United States- HI: Now waitaminute honey, you resigned before ED: That ain't the point, M. We don't deserve Nathan HI: Y'ain't that bad, honey. ED: -If I'm as bad as you, what good're we to each FARMERS AND MECHANICS BANK Baking in the noonday sun. GALE AND EVELLE Sitting in the front seat of their idling car, looking at the EVELLE: There she is. GALE: Yep. Welp ... They look at each other. GALE reaches for his door. ... Let's do her. EVELLE: Waitaminute. What do we do with Gale Jr.? GALE: Wuddya mean, he waits here. EVELLE: Are you crazy?! He can't wait here by hisself. INT FARMERS AND MECHANICS BANK AS GALE and EVELLE bang in through the door. EVELLE holds GALE: All right you hayseeds, it's a stick-up! Everbody Everyone freezes, staring at GALE and EVELLE. An OLD HAYSEED: Well which is it young fella? You want I GALE: SHUTUP! Promptly: HAYSEED: Yessir. GALE: Everone down on the ground! EVELLE: Y'all can just forget that part about freezin'. GALE: That is until they get down there. EVELLE: Y'all hear that? There is a murmur of acknowledgment from all the people on GALE is tossing EVELLE a sack. GALE: Wanna fill that sack, pardner? We got-shit! He, is looking in shock at the tellers' counter. ... Where'd all the tellers go? There is no one behind the counter. A muffled voice from offscreen: VOICE: We're down here, sir. EVELLE: They're down on the ground like you GALE: I told you not to use m'damn name! Can't you EVELLE is momentarily abashed, but then brightens: EVELLE: Not even yer code name? GALE registers understanding. GALE: Oh yeah ... m'code name. EVELLE: Y'all hear that? There is a murmur of acknowledgment from all the people on GALE: All right now everone, we're just about ready to EXT POLICE CAR The camera is locked down on the roof of the rocketing squad The car is approaching the townlet, its siren wailing. BACK TO THE BANK A teller is finishing stuffing the last of two burlap bags. Close The teller hits a button on the device and it starts ticking; EVELLE: All right now everone, you know how this He is grabbing the two sacks and tosses one to GALE, who also ... We might come back in five to check. That's for us GALE: Anyone found bipedal in five wears his ass for a They bolt out the door. EXT POLICECAR Siren jumps in loud at the cut. It is the same locked-down EXT GALE AND EVELLE"S CAR Peeling out from in front of the bank. INT GALE AND EVELLE'S CAR GALE is driving; EVELLE starts pawing through one of the GALE: That old timer threw off my concentration. EVELLE: We done okay. Yessir. This ought to split A thought registers with GALE and EVELLE at the same They look at each other. They both twist frantically to look Bellowing: GALE: Goddamnit! Ya never leave a man behind! KA-POP! With a loud flat crack something detonates in the GALE and EVELLE, both covered in blue, are screaming in The car is swerving wildly as GALE drives blind, the inside HIS POV As the blue paint is smeared away we see Hi and ED'S car HI'S POV Down the barrel of his shotgun. The car with the blue interior Hi lets go with the other barrel. The shot chews up the front grill, shatters one headlight The car is squealing to a halt and GALE and EVELLE pile GALE: Goddamnit H.I., ain't we got enough to contend ED is running over to GALE and EVELLE'S car, throwing open EVELLE is staggering around in shock, looking in disbelief ED: Where's the baby? EVELLE points this way and that, in a state of confusion. EVELLE: I think we left him on the roof of the . . . he Hi and ED are climbing into their car. GALE: Let us come with! . . . Hi and ED are already peeling out. . . .He's our baby too! CLOSE ON NATHAN JR. Sitting placidly in his car seat that sits in the middle of the We can hear the wail of the police siren still approaching. As we hold on NATHAN JR. we hear the distant booming of a As we boom up to show the empty street beyond the baby, From beyond the crest of the road ahead a ball of flame has LENNY SMALLS' motorcycle appears over the rise. Framed FROM BEHIND Hi AND ED As they top a rise coming from the other direction. We see the LOCKED DOWN TO MOTORCYCLE The extremely low wide shot, locked down to the speeding With a clank of chains LENNY's hand drops down into A tattoo on LENNYS wrist reads "No Prisoners." REVERSE Low shot with NATHAN JR. in the foreground. He is scooped up and out of frame as LENNY roars by. ON LENNY Roaring along. He hooks the car seat over his handlebars. OVER Hi AND ED'S SHOULDERS LENNY is approaching. Under her breath: ED: What is he? HI: ... D'you see him too? LENNY is sawing a shotgun out of his back holster and LENNY is sighting down the gun, swinging it around as he Hi and ED duck just as: The shotgun spits orange flame and the windshield LENNY roars by. LENNY'S POV The baby on the handlebars in the foreground; the road The bike banks into a hard turn. FACING Hl AND ED Shooting through where the windshield used to be, cutting in Hi and ED are raising their heads. Facing forward, they do He is sawing out his second shotgun. Hi looks around, reaches and PUIIS ED down beneath him Ka-BOOM!-The second shotgun roars and the back AS LENNY roars past the back window he casually flips LOOKING DOWN AT Hi AND ED Folded over in the front seat. Below them something bounces EXT CAR As the two front doors fly open and Hi and ED Spill OUT-HI ON ED As she dives for cover behind a parked car. Beyond her- ON Hi The explosion flings him to the ground in the middle of the THROUGH FIRE AND SMOKE Looking up the street to where LENNY is wheeling his bike in Hi flat on his back, woozily shaking his head. He weakly raises himself on his elbows to look down the HI'S POV Looking down the length of his own body. His legs stretch Crashing down from a wheelie, LENNY's roaring bike is Hi He rolls. As the bike is roaring by: HI'S HAND Reaches and snags a chain on LENNY'S passing boot. Hi Dragged several yards before the boot shakes him off, leaving Hi looks up the road. HI'S POV LENNY is again sluing the bike around. REAR WHEEL OF BIKE Smoking as it skids around in the foreground, completing its Boom Up LENNY's back to reveal ED stomping straight up ED: I want that baby! BACK TO Hi He reaches back to pull up his shirt, revealing a gun tucked in OVER LENNY'S SHOULDER AS ED closes in. ED: Gimme that baby, you warthog from hell! LENNY's arms rise into frame. With a roll of his wrists two BACK TO Hi On his stomach, sighting down the gun toward LENNY. HIS POV ED stepping into his line of fire, blocking LENNY. FROM BEHIND LENNY Raising an arm to stab. ED Stoops to scoop the baby from the car seat, revealing: Hi, behind her. He fires. LENNY"S NAND Drilled by Hi's bullet, drops its knife. The exit wound spurts, not flesh and blood, but a brief jet LENNY Quick as a flash hurling the other knife at Hi. HI As the knife stings the gun out of his hand. KNIFE ON THE GROUND AT LENNY'S FEET LENNY bends to scoop up the knife he dropped. TRACKING BEHIND ED As she runs toward the bank, clutching NATHAN IR. to her INT BANK AS ED bursts in. The floor is littered with obedient hayseeds. From where he lies prone: OLD TIMER: just lie down on the floor, missie. BANG: The front door bursts open before LENNY's roaring It sails off a step into the sunken atrium, and lands with a TRACKING BEHIND ED As she runs for the back door and pushes through it. TRACKING BEHIND LENNY As he slaloms through the wildly scattering hayseeds. EXT BACK OF BANK AS LENNY bursts out. With a whipcrack effect he looks left, then right. He jerks the bike right, to where an alleyway flanks the side ALLEYWAY ED is running up the alley toward the front of the bank as LENNY'S POV Roaring down the alley. TRACKING IN FRONT OF ED As the bike approaches behind her. BACK TO LENNY'S POV Closing on ED as she reaches the mouth of the alley. A plank swings into frame, straight at the camera. REVERSE Matching action as HI finishes swinging the plank into LENNY hits the ground hard as his bike spins out from THE BIKE Riderless, twisting crazily into the street where it collapses. HI AND ED LENNY is rising to his feet beyond them as Hi nods HI: Run along now, honey. LENNY is reaching back to throw his knife. Hi, unaware, is turning to face him, presenting the plank It thunks into the plank, piercing it through. Hi backs up, swinging the knife-studded plank to make TRACKING BEHIND LENNY'S SHOULDER As he reaches up to unhook a chain from a ring on his vest LENNY'S HAND As the free chain drops down into his palm. LENNY Swinging the chain-whoosh whoosh-at the backpedaling THE PLANK As the chain snakes around it and rips it out of Hi's hands. LENNY Grabbing Hi by the shirtfront. LENNY'S OTHER HAND Swings down and brass knuckles appear on it. ON HI AS LENNY'S fist swings into frame to club him forehand, then An uppercut from his heels sends Hi sprawling back. A PARKED CAR As Hi lands against it, banging his head. He sinks to the LENNY is casually walking toward him, lighting a cheroot. Hi flops over onto his stomach and starts wriggling under FROM UNDER THE CAR Hi's face in the foreground as he desperately seeks escape. Behind him we can see LENNY casually reaching down and The shot is framed identically to the shot in the Arizona LENNY PULLS. Hi is dragged away from the camera and out Hi Struggling to stand up. LENNY wraps his arms around him and applies a HI'S ARMS Crushed against LENNY. His hands paw futilely at LENNY'S FULL SHOT LENNY finally flings Hi away. Hi Landing in the dust, all the fight beaten out of him. LENNY Tired of the fight: He saws out both shotguns On the guns as LENNY'S thumbs draw them back. He raises HI The end of the road. He wearily lifts a hand, defensively extending it in front of HI'S HAND A hand grenade pin hangs, glinting, from one of his fingers. Pawing at LENNY'S chest he must have hooked his finger HI Reacting. LENNY Reacting to Hi reacting. He looks down. LENNY"S CHEST On the bandoliers across his chest, silver pins glint in all the LENNY'S FACE Hi's jaw drops. LENNY'S FEET The lit cheroot hits the ground between his boots. Hi Scrambling to his feet. LENNY Trying to drop the shotguns to free his hands. In his panic Hi Starting to run. LENNY Finally freeing his hands. Hi Diving behind the parked car. LENNY'S CHEST His hands fly in to wrap around the grenade-too late- LENNY Blows sky-high. There is a roar as if the earth were cracking We pan the fire to the sky. Fade out. A white aluminum ladder rises up into the blackness, JUMP BACK To the interior of the Arizona second-story nursery as the It is late at night; the nursery is dark and empty. THE HEADBOARD Of the unpainted crib with the burned-in names: Harry, As we pull back from the headboard ED's arms are gently REVERSE Hi and ED looking sadly down at the baby. The silence is broken by the bleat of a squeeze-me toy as the NURSERY DOORWAY NATHAN SR. stands in his jammies, hair disheveled, holding a Keeping the gun trained on Hi and ED, he slowly raises a NATHAN: The hell is goin' on? He advances cautiously into the nursery, gesturing with his . . .Get away from there. Hi and ED back away from the crib. NATHAN peers in and studies the baby for a moment. He lays the gun down, tenderly picks up the baby and Hi and ED are quietly moving back towards the ladder. NATHAN (sharply): Waitaminute . . . Hi and ED Stop. ... I ain't through with you. What're you doin' HI: ... Scuse me? As he bounces the baby, studying Hi and ED: NATHAN: Leonard Smalls, big fella rides a Harley, HI: No sir, that's who we saved him from. It's a long NATHAN: Suppose you tell it. HI: Well, sir, in a re-ward situation, they usually say NATHAN : Do they. Hi shrugs. NATHAN turns to put the baby back in the crib. ...All right, boy, I guess you got a re-ward coming. He turns around with a thought: NATHAN: ... Or, if you need home furnishings, I can HI: Well- NATHAN throws his hands up in the air. NATHAN: But it's up to you. HI: Tell you the truth, I think we'd prefer the ca- ED: We don't want no reward. Hi does a small take, surprised at this much integrity. ... We didn't bring him back for money. NATHAN: Well, we could work it that way too. ED: Could I just look at him a little bit more? She stands looking into the crib. Hi steps up next to her and NATHAN: Be my guest, young lady ... but would you ED starts crying softly as she gazes into the crib. Hi murmurs NATHAN is studying the two of them. ... You took him, didn't you? Wasn't that biker a'tar. Hi turns to face him. He speaks in a rush. HI: I took him, sir, my wife had nothin' to do with it. I ED (still crying): We both did it. We didn't wanna hurt HI: It wasn't for money or nothin'. We just figured you NATHAN: Shutup boy, no one's callin' the authorities ff HI: Thank you sir. ED: Thank you sir. NATHAN: Aw bullshit. Just tell me-just tell me why ED: We can't have our own. NATHAN looks at her. Finally he nods and sighs. NATHAN: ... Well lookit. If you can't have kids you HI: Sir, those're kind words. But I think the wife and He indicates ED with a nod of the head. ... Her point of view is we're both kinda selfish and NATHAN: Well ma'am, I don't know much but I do He clears his throat and turns to the door. His tone is harder ... You can go out the way you came in ... He snaps off the lights. ... And before you go off and do another foolish He has disappeared into the hall. We hear his voice receding: ... at least one night. HIGH SHOT Looking straight down at Hi, asleep in the trailer bedroom. We start to crane down. VO: That night I had a dream ... EXTREME WIDE SHOT A beautiful dusk landscape. We are floating in over the field, In the middle background of the extreme long shot two men VO: . . . I dreamt I was as light as the ether, a floating BACK TO HIGH SHOT BEDROOM Craning down toward Hi. VO: The shades and shadows of the people in my fife BACK TO FIELD Still floating forward but now much closer to the two walking They are approaching the hole in the ground. VO: I dreamt that Gale and Evelle had decided to EVELLE is starting to climb into the hole. ... Probably that's just as well. I don't mean to sound EVELLE has disappeared and GALE starts climbing in. ... maybe they weren't ready yet to come out into the FLOATING UP THE WALK OF THE ARIZONA HONE The front door has a holly wreath on it. VO: And then I dreamed on, into the future, to a DISSOLVE THROUGH TO: ARIZONA LIVING ROOM Five three-year-olds in their pyjamas are opening presents VO: ... where Nathan Jr. was opening a present from We have been isolating in on one of the children peeling the Inside is a shiny red plastic football. FLOATING IN TOWARD A STATION WAGON Pulled over on the state highway in the middle of the desert, a VO: I saw Glen, a few years later, still havin' no luck GLEN is grinning and talking with his hands cupped in front The trooper, in crash helmet and dark sunglasses, is . . .Maybe he threw in one Pollack joke too many . . . The trooper is clicking open his ballpoint pen and reaching his ... I don't know. FLOATING IN TOWARD A FOOTBALL It sits on a tee in the middle of a football field. VO: And still I dreamed on ... A cleated foot boots the football out of frame. ... further into the future than I'd ever dreamed HIGH SCHOOL FOOTBALL PLAYER Looking up, arms out at his sides, waiting to receive the VO: ... Watching Nathan Jr.'s progress from afar ... He catches the ball and starts running. ... Taking pride in his accomplishments as if he were He is skillfully eluding and stiff-arming tacklers. ... Wondering if he ever thought of us . He reaches the end zone and triumphantly spikes the football. He whips off his helmet and we track in on the face of the ... and hoping that maybe we'd broadened his BACK TO BEDROOM Still craning down, now very close to the sleeping Hi. vo: But still I hadn't dreamt nothin' about me'n Ed. DISSOLVE THROUGH TO: A COUPLE The man and woman are sitting on a sofa in the foreground As they face the trailer's front door, all we see of the couple VO: . . . And this was cloudier 'cause it was years, The front door bursts open. Two young couples are entering The old couple on the couch raise their arms to embrace ... But I saw an old couple bein' visited by their FLOATING IN TOWARD A LONG DINING TABLE In the trailer. The table is all laid out with a Thanksgiving Cut-out letters at the other end of the room say: WELCOME The grandchildren are running into frame and taking their VO: . . . But me'n Ed, we can be good too . . . The elderly couple enter from either side of the camera and ... And it seemed real. It seemed like us. And it seemed The elderly man drapes an arm around his wife's shoulder She rests her head against his shoulder, and we: Fade out. |