THE BODYGUARD

Written by LAWRENCE KASDAN
Clean Shooting Draft
February 1992
FOR EDUCATIONAL
PURPOSES ONLY
SCREEN IS BLACK
In the darkness we hear dripping water, the echoing
approach of two sets of footsteps. There is the sound of
a sudden, quick scuffle, a heavy fall of bodies.
THREE BOOMING GUNSHOTS. Two from one gun, one from
another. So fast and close, they're barely distinguishable.
The sound of the SHOTS ECHOES against concrete
walls and dies away. Silence.
SLOW, SLOW, FADE IN:
1 INT. UNDERGROUND GARAGE (NEW YORK) - NIGHT 1
FRANK FARMER'S FACE -
mid to late 30s, peers intently over a smoking gun. He
is The Bodyguard.
ANGLE - HIT MAN
dead on his feet, leans against a car. A gun drops
heavily from his hand. His life ebbs as he slides slowly
down the car door to his knees then falls forward, face
down on the cement floor.
A SLOW PULL BACK reveals that FRANK is lying on top of
KLINGMAN. Protectively pressed body to body on the
filthy cement floor of the garage. Klingman, a handsome,
50-year-old arbitrageur, gasps in barely controlled fear
as his Armani suit soaks up a black pool of oil. There
is no movement.
The two men are lying near the right front fender of a
black limousine. Blood spreads from the body of the hit
man, a few yards away. Klingman starts to raise himself
up but Farmer keeps him pressed to the floor, still
alert for any further threat.
MAIN TITLES BEGIN.
A beat, and VOICES are heard O.S. Farmer wheels, snubnosed
.357 aimed at them.
FRANK
Freeze!
ANGLE - DOORWAY TO GARAGE
A uniformed chauffeur freezes in his tracks. Farmer
lowers his weapon and speaks.
FRANK
(calm, but an order)
Call 911.
2.
CAMERA has CRANED UP TO a high, almost-frozen WIDE SHOT of
the scene. It TRACKS AWAY INTO darkness.
2 EXT. CITY STREET - NIGHT 2
Passing traffic reveals the storefront of a TV showroom.
Inside, behind the reflections of the city lights, all
the TV sets are showing the same picture, the glittering
image of a woman singing. (We will recognize the woman
as Rachel Marron.) We cut tighter and tighter on the
image until it is almost broken up into its scanning
lines. Through the city noise comes the sound of her
song "I have Nothing."
2A INT. DAN'S APARTMENT - DESK TOP - NIGHT 2A
A battered old desk. Scattered across the top -- a pile
of blank white paper, a jar of glue, a stack of
magazines, a pair of scissors, a TV remote control,
softly in the b.g., a TV is playing the same image we saw
in the store window, the same song.
Hands appear. Male hands. They open a drawer and remove
a pair of translucent rubber gloves. Carefully they put the
gloves on. The SNAPPING of the rubber is the only sound.
The hands pick a magazine off the stack: Screen Stars.
They put the magazine down and pick up the scissors. A
headline on the cover reads: "RACHEL MARRON'S GREATEST
TRIUMPH!" The scissors start to cut. Meticulously they
excise the name "RACHEL MARRON" from the page. With the
care of a surgeon.
3 EXT. HOLLYWOOD PREMIERE - NIGHT 3
A tumultuous crash of screaming, pushing bodies. Arms
stretch out, cameras flash, sunguns flare, microphones
are thrust forward. A deafening cacophony of "Rachel!
Rachel! Rachel! Over here! Over here! This way,
Rachel! Rachel! Rachel!" We cannot see the object of
this frenzy. We catch a brief glimpse of an attractive,
well-dressed young woman (NICKI), exiting with the other
celebrities, as she is pushed and casually jostled aside
by the mass of surging fans and media. Her face is calm
and impassive as she watches from the sidelines.
5 INT. KLINGMAN'S OFFICE DEN - NIGHT 5
In a paneled room tastefully hung with a few choice paintings
that reflect Klingman's success as an arbitrageur,
he pours two snifters of brandy as he speaks with Farmer.
3.
KLINGMAN
Your hands ever shake, Frank?
FRANK
Sometimes. It's just adrenaline.
KLINGMAN
... How did you know?
FRANK
I saw him washing the car.
KLINGMAN
I saw him.
FRANK
They don't wash cars on the
parking levels.
He hands a glass of brandy to Frank, who looks at it.
KLINGMAN
You know, I'd like you to stay on.
He passes a small sealed envelope to Frank.
FRANK
I'm not good in permanent
positions, my feet go to sleep.
The two men smile at each other. They raise their glasses
in a joint salutation -- Klingman drinks. Frank doesn't.
6 INT. DARKENED ROOM - DESK TOP - NIGHT 6
The rubber-gloved hands are glueing the word "TIME" onto
a message that is taking the classic form of a ransom
note. Each word has been cut from a different page and
is in a different typeface. The note is being assembled
with such care that it has an unusually neat appearance
and is quite easy to read. It reads:
MARRON BITCH -- YOU HAVE EVERYTHING
I HAVE NOTHING. THE TIME TO DIE IS ...
7 EXT. CHARITY CONCERT - EVENING 7
A blur of hands and faces. Excited fans. Pieces of paper,
autograph books, notes are thrust forward INTO the CAMERA.
Again, a mass chanting "Rachel! Rachel! Rachel!"
Hands of Rachel's entourage accept some of the proffered
items.
In CLOSEUP, we see Rachel's hands signing "Best wishes,
4.
Rachel Marron" on an out-stretched open palm. In the
midst of the urgent forest of hands and paper, a beribboned
black doll is thrust forward, bearing the legend
"RACHEL, WE LOVE YOU."
8 EXT. FRANK FARMER'S HOUSE - EVENING 8
SLAM of a CAR DOOR. Frank gets out of a cab with two
suitcases. His house is a modest stucco affair on a
small lot. He goes up the walk and puts down his suitcases.
He looks at rampant foliage and overgrown grass.
Supermarket circulars cover his doorstep. He picks up a
few and fishes a bunch of keys from his pocket. A
curious neighbor peers from behind a net curtain. As the
door opens, we are aware of a further pile of mail
inside. Frank's feet push the letters aside and go
inside. The door shuts.
10 INT. FARMER'S KITCHEN - NIGHT 10
Farmer has carefully set a place for himself at the table
in a breakfast nook. A bottle of red wine is open with a
glass beside it.
At the stove he stirs and flavors a Boeuf Bourgignon and
reads a Time magazine. He adds a splash of wine. He
lifts the pot from the stove and tries a piece of meat.
At the table, he looks at the place setting and absently
eats another piece of meat. Finally he sets the pot on
the plate and eats from it directly while glancing
through the magazine.
11 INT. DRESSING ROOM - CLOSEUP - CORNER OF DRESSING TABLE 11
Lots of people are schmoozing in the dressing room.
There's a loud buzz of excited chatter. Hands are stacking
flowers, good luck messages, cards and cables by the
mirror. Through the blur and bustle, we glimpse the doll
with its embroidered ribbon message "RACHEL, WE LOVE YOU."
Hands casually move it to one side, among the flowers
resting on the small portable TV set. On the screen is
an image of Rachel performing on stage, acknowledging
applause, bowing.
The doll EXPLODES, SHATTERING the TV, the MIRROR and the
LIGHT BULBS.
The SCREEN GOES BLACK, amid SHOUTS, SCREAMS and
CONFUSION.
TITLES END.
5.
12 EXT. FRANK FARMER'S HOUSE - BACK YARD - DAY 12
Frank lounges in his shorts under the single tree, sunglasses
on, a glass of iced tea by his side. Strains of
"DON'T WALK AWAY RENEE" come from a beat-up transistor
RADIO.
An old-fashioned lawn sprinkler lazily waves water back
and forth over the freshly cut grass. Throwing knives
lay scattered nearby. A wooden post is sticking out of
the ground in front of the fence at the back of the yard.
BILL DEVANEY, fiftyish, a distinguished-looking black
gentleman, stands nearby trying to engage Frank in a
conversation that up to this point hasn't been going well.
He's Rachel's personal manager.
DEVANEY
So, you won't protect Rachel Marron
just because she's in show business?
FRANK
I don't do celebrities.
DEVANEY
But the biggest money's in show
business people.
Frank says nothing. His eyes are closed behind the sunglasses.
Devaney picks up one of the throwing knives.
He holds it carefully by the blade and throws it. It
misses the post by three feet and clatters against the
fence.
Frank opens his eyes, sees what's going on and closes his
eyes again.
DEVANEY
(picking up another
knife)
Do you really do these things?
FRANK
Isn't she the one who collects
dolls?
This is enough to distract Devaney from his knife-throwing.
DEVANEY
(exasperated)
Farmer, Rachel Marron is one of the
most famous people in America. She's
won every music award invented. She's
got the number one song in the country
right now and she'll probably be
nominated for an Oscar in her very
6.
first picture. And you want to know
'Isn't she the one...?' Christ,
man, where've you been?
FRANK
You mean she doesn't collect dolls?
DEVANEY
(defeated)
Yes. She collects dolls.
FRANK
I thought I knew who she was.
Devaney tries to size up whether Frank is kidding him or
not. Frank's face betrays nothing. Devaney gestures with
a knife.
DEVANEY
You're probably deadly with these
things, aren't you?
FRANK
Deadly.
DEVANEY
Show me.
Frank doesn't move.
DEVANEY
Why are you resisting this job?
$2,000 bucks a week.
(no response)
$2,500.
FRANK
There are several good men
available for that kind of money.
Have you talked to Fitzgerald or
Racine? Portman?
DEVANEY
Yeah. Portman was interested...
He senses an opening and sits down beside Frank for what
he takes to be the first serious talk.
DEVANEY
... but we're told you're the best.
FRANK
There's no such thing.
DEVANEY
Farmer, we're talking about a
very frightened lady. With a
7.
seven-year old son. Believe me,
I wouldn't be here if I didn't
think this was for real.
(long pause)
Farmer, she begged me to get you.
Frank sits up finally and looks at Devaney a long time.
He picks up five throwing knives and stands up.
FRANK
All right. I'll come and I'll look
the situation over. If I take it,
it's three thousand a week.
DEVANEY
(whistles)
Okay. You must be very deadly
for three grand a week.
Frank is now about twenty feet from the wooden post. He
throws one of the knives. It misses the post and
clatters against the fence.
FRANK
Shit.
Devaney's face drops. Frank examines the next knife.
FRANK
(mumbling)
I know it's something like...
The second knife gets away from him at the top of his arc
and disappears into some bushes about three feet from
Devaney. Devaney stands up in a hurry and moves behind
Frank.
FRANK
Sorry.
Frank raises his hand to throw again, then stops and
motions Devaney off to the side.
FRANK
Better not stand right behind me.
Devaney smiles weakly. Frank lets the third knife go
with one smooth motion.
The knife sinks an inch into the center of the post. THUMP.
Frank's hand arching again. Throwing the remaining knives.
Both knives stick in the post forming a straight vertical
line with the first one.
8.
13 EXT. MARRON ESTATE - WAVERLY LANE (BEL AIR) - DAY 13
Frank stops his nondescript Chevy across the quiet street
from the closed, unmanned gate at the bottom of the Marron
driveway.
FRANK'S POV
as he looks over the gate, the wall, the heavy vegetation
and the rising grounds beyond.
(NOTE: The use of the term FRANK'S POV, is not to be
taken simply as a camera direction. Rather, it represents
a recurring attempt to make the audience see in
the special way Frank sees. Frank lives by constant
vigilance, heightened awareness. It is his genius and
his burden. The audience must be put in the position of
looking, searching, scanning with him.)
He has a curious sense of being watched, a kind of prickling
on the back of his neck. As he looks around, a
black Toyota 4X4, parked some way down the road, drives
rapidly off -- too fast to get a clear look. He watches
it go.
Frank pulls up to the gate and gets out of his car. He
grabs a bar of the gate and pulls. The whole gate
rattles. Frank gets back in his car and pushes a button
on the intercom box at the side of the gate. A MAN'S
VOICE CRACKLES out of the BOX. Transmission is terrible.
MAN'S VOICE (V.O.)
Yes?
FRANK
Frank Farmer to see Miss Marron.
MAN'S VOICE (V.O.)
What?
FRANK
Alexander Graham Bell to see Miss
Marron!
MAN'S VOICE (V.O.)
(obviously has not heard)
Have you got an appointment?
FRANK
The atomic number of zinc is 30.
MAN'S VOICE (V.O.)
All right.
There is a LOUD BUZZING and the gate swings arthritically
open.
9.
14 EXT. MARRON ESTATE - DRIVEWAY - DAY 14
FRANK'S POV
as he moves up the winding drive through heavily landscaped
grounds. Plenty of potential hiding places. The
mansion is at the top of the hill. The grounds behind
the mansion fall away.
15 EXT. MANSION - CIRCULAR DRIVE/ENTRANCE AREA - DAY 15
The mansion is huge. On and on it goes. Frank drives
PAST the garage area where HENRY, the chauffeur, is
polishing the mascot on the limousine. One of his arms
is bandaged. Henry peers at Frank, puts down his cloth
and walks toward the entrance where Frank is parking.
Frank gets out, looks around. A painter's truck is
parked nearby, two painters unloading equipment from it.
HENRY
Can I help you?
FRANK
Are you the man on the intercom?
HENRY
No. Can I help you?
FRANK
My name is Edison. I have an
appointment with Miss Marron.
HENRY
Oh. And that was arranged by...?
FRANK
(impressed)
Mr. Devaney.
HENRY
Go right ahead, Mr. Edison.
FRANK
What happened to your arm?
HENRY
(looking at his arm)
A doll.
He goes back to the limousine.
Frank RINGS the DOORBELL, although the door is not shut.
EMMA, a fiftyish housekeeper, appears. A man in coveralls
comes out past her, carrying a length of timber.
10.
FRANK
Henry Ford, to see Mr. Devaney.
EMMA
Come in, please.
16 INT. MARRON MANSION - DAY 16
Frank steps into the foyer with Emma. She is a warm,
matronly woman who does a fine job running the house
without standing on custom.
EMMA
I'll tell you quite honestly,
Mr. Ford, I don't know where
Mr. Devaney is. Did he say he'd
be here?
FRANK
Yes.
EMMA
Then he probably is. Let me look.
She leads Frank into a large, unused formal parlor. There
are dustsheets over the furniture and the walls are being
repainted. On a number of TV screens scattered around,
Rachel's latest video (the one we saw in the opening
titles) is continuously playing. The sound of the song
itself -- "I HAVE NOTHING" -- comes softly from concealed
speakers.
EMMA
Please make yourself at home. Can
I get you anything?
Frank demurs and Emma disappears back through the foyer.
Frank watches her go, then moves off into the house in
the opposite direction. It's obviously undergoing a
major redecoration. Painters, decorators and designers
come and go, oblivious to Frank's presence.
17 INT. MARRON MANSION - VARIOUS ROOMS - DAY 17
The deeper Frank walks into the house, the warmer and
more lived-in rooms appear.
18 INT. MARRON MANSION - SUN ROOM - DAY 18
Frank steps into a tiled room that overlooks the pool
area. One wall is all glass. On the opposite wall are
shelves containing the trophies of Rachel Marron's career:
A Tony award, three Grammy's, gold and platinum records,
other statuettes and plaques. Among the framed photographs
of Rachel accepting awards etc., is one of her and
11.
her small son, FLETCHER, dressed in a tuxedo. Both are
goofing off for the camera with obvious affection. Frank
looks down at the pool.
FRANK'S POV
Dwarfed by the pool, the only person in sight is sevenyear
old Fletcher, the little boy from the photograph,
dark-haired and fragile. He is crouched at the side of
the pool with the remote control unit for a foot-long
speedboat which is cutting across the water. A nanny
sits, some way off, embroidering.
Frank's attention is distracted. A heavier BASS MUSICAL
BEAT comes from somewhere nearby in the house, another
Rachel Marron number, but this time up-tempo and bouncy.
Frank follows the sound.
19 INT. FAMILY ROOM - DAY 19
Frank walks into the rear of the room that the noise is
coming from.
It is large and comfortable with plenty of seating, a
bar, a wall of stereo gear and a projection booth. It
is packed with people, props and video equipment. There
is lots of activity, a general air of barely-organized
chaos. MUSIC BLARES out.
A group of six dancers, is rehearsing an energetic dance
number for a music video, directed by their choreographer
RORY. Sunlight throws them in a silhouette against the
glass wall at the end of the room. A video cameraman
circles them, taping the rehearsal, which appears on a
large-screen TV behind them.
In one corner, a pretty black girl is being pinned into a
proposed costume for the video. Several people are standing
around, tending to the video and playback gear. All
the chairs face the far end of the room and it isn't
immediately apparent how many more people are hidden among
the big cushions.
As Frank sits on the barstool at the back, a large swivel
chair turns to reveal Devaney. He waves to Frank and
makes his way over to him.
On the other side of the room, a brawny, heavyset man in his
late thirties rises to look at Frank. He has a twenty inch
neck. Devaney signals to him that everything is all right.
The brawny man looks at Frank a moment more, then sits down.
Frank looks around the room. A shelf laden with vitamins.
Guitars of various makes. A flute. A gold record being
used as a coaster. People smoking and chatting through
the rehearsal.
12.
In one of the chairs, a pretty woman in her mid-thirties
(NICKI, the woman we saw at the premiere) is knitting.
She glances occasionally at the dancers. A man sits next
to a phone busily discussing a contract with someone at
the other end of the line.
The music climaxes and abruptly stops. The dancers hold
their dramatic final poses for a second, then relax again.
APPLAUSE. The CLAPPING from the front sofa is loudest.
Then LAUGHTER.
From elsewhere in the room comes the voice of the VIDEO
DIRECTOR.
DIRECTOR (O.S.)
Playback, everybody!
Rachel's voice comes from the sofa.
RACHEL (O.S.)
Come here, Rory!
The choreographer skips to the sofa and disappears from
sight. Sound of kissing, laughter.
The video rewinds on the big screen and the dancers gather
round it expectantly.
RACHEL (O.S.)
Sugar, that's gonna be great. I
love the ending...
Devaney moves to the front of the room. The PLAYBACK
STARTS behind him. There are several overlapping
conversations going on.
DEVANEY
Rachel...
RACHEL (O.S.)
Nicki, how'd you like the number?
You like the end routine?
DIRECTOR (O.S.)
Rachel. You wanna see it back
from the beginning or just the
ending...
NICKI, responds to Rachel's question.
NICKI
It was just great, Rory...
But Rachel is already replying to the video director.
13.
RACHEL (O.S.)
I wanna see it all. Tony? I'll
bet Tony loved it.
The brawny man, Tony, shrugs and stands to look at Frank
as he speaks.
TONY
Ehh!
RACHEL (O.S.)
Don't worry, Rory. Tony doesn't
appreciate great art.
The pinned-up girl has been brought forward for Rachel's
approval, elbowing Devaney a little to one side.
DRESS DESIGNER
(showing the costume)
What do you think, Rachel?
DEVANEY
Rachel, Frank Farmer is...
RACHEL (O.S.)
Devaney, do you think this is me?
DEVANEY
(not looking)
It's terrific...
Devaney is now facing the unseen Rachel.
DEVANEY
Rachel, Frank Farmer is here.
Devaney nods in Frank's direction. Nicki looks at Frank.
RACHEL (O.S.)
Who's here?
DEVANEY
Frank Farmer.
(getting no response)
The bodyguard.
RACHEL (O.S.)
I think Rory should be my
bodyguard.
(to dress designer)
Let's see the back again...
DEVANEY
Rachel, raise your butt out of
there and meet this man.
RACHEL MARRON finally rises from the sofa. It's a bit of
14.
a shock to see that she is only about thirty years old.
A young woman. Not beautiful, not ugly. Unique only in
that she is immediately interesting. A Superstar.
RACHEL
Well, I'm up.
Rachel and Frank look across the room at each other.
Frank comes forward.
DEVANEY
Frank Farmer, Rachel Marron.
Rachel offers her hand and they shake. Rachel looks him
up and down.
RACHEL
You don't look like a bodyguard.
FRANK
What did you expect?
RACHEL
I don't know. Tough guy maybe.
FRANK
This is my disguise.
RACHEL
(smiling)
Well, his timing's good.
DEVANEY
This is Nicki, Rachel's sister
and personal secretary.
NICKI
Nice to meet you, Mr. Farmer.
DEVANEY
(indicating)
... Tony Scibelli.
Tony nods but makes no move to shake hands.
Rachel dismisses the Dress Designer.
RACHEL
(to designer)
The back's still not right...
SPECTOR, still on the phone, offers a perfunctory wave.
DEVANEY
... Sy Spector, Rachel's publicist.
15.
RACHEL
Can we get you a drink?
FRANK
Orange juice.
RACHEL
Straight? Nicki.
Nicki goes to the bar. Rachel sits and motions for
Frank to sit opposite her.
RACHEL
Rory, I'll be with you in a second.
Rory gets up, and goes over to his dancers at the big
screen video.
RACHEL
Listen, this whole thing is Bill's
idea... This sudden obsession with
protecting me. Tony has always
handled my security and we've done
just fine.
SPECTOR (O.S.)
(into the phone)
Yes, I'll hold but not long...
RORY (O.S.)
Rachel, you want to run through
your steps before we go again...?
RACHEL
I'll be with you in a second.
Nicki hands Frank his orange juice. She looks at Frank as
she speaks.
NICKI
I think Bill's right, Rachel. It's
time you took more precautions.
Spector enters the conversation.
SPECTOR
(one hand covers
the phone)
Nicki, I'm sure Mr. Farmer would
tell you the number of nuts
writing fan letters jumps every
time Rachel is on the cover of
a magazine.
DEVANEY
Not like this.
16.
An ASSISTANT hands Rachel a small sheaf of phone messages,
some papers for signature and a pen. Rachel checks
through them and signs as she talks.
RACHEL
Relax guys, I said I'd do it. You
see what I'm dealing with here?
I'm willing to go along, as long
as we all understand each other.
I'm not going to let this alter
my life one little bit.
(to assistant)
Who was this?
ASSISTANT
(overlapping Devaney)
Oh. That was Clive's office.
They called three times...
DEVANEY
Honey, that's not going to be a
problem.
DEVANEY (CONT'D)
(to Frank)
Rachel runs a very informal
household, we're all on a first
name basis...
Spector has finished up on the phone and jumps in.
SPECTOR
...And I'm sure you'll blend in
just fine. You can select whatever
alarm systems you want for the
house. Some kind of improved
security for the gate. What else,
Rachel?
Rachel stands and starts to wander over to Rory and
the dancers.
Frank looks at Devaney. Devaney doesn't like the tone
this is taking.
RACHEL
I think I'm safe when I'm here at
the house so I guess the main thing
will be when I go out. Tony will
be able to fill you in on all that.
You two will have to work something
out. I don't want both of you
falling all over me everywhere I
go. The most important thing is
this -- I will not allow Fletcher
to be affected by this thing...
17.
Rory puts his arm around her waist and stands behind her,
starting to run through her steps with her in slow motion.
SPECTOR
(punching phone)
I was just going to cover that.
We'll have to tell the child you
have some other function...
RACHEL
I don't want him to think he's in
prison. So the house and grounds
must not be altered in any way.
He shouldn't be aware that you're
here. Is that clear?
Frank looks at her a long time, glancing up at Devaney
once.
FRANK
Miss Marron...
RACHEL
Rachel.
FRANK
There's been a mistake. A
misunderstanding. If you'll show
me the quickest way out, we'll
save each other a lot of trouble.
Frank's on his way. Someone brings a silver headpiece on
a stand to Rachel. She ignores it, still looking at Frank.
TONY
You can go past the pool.
DEVANEY
Shut up, Tony.
FARMER
Nice meeting you.
DEVANEY
Farmer, will you wait a minute?
SPECTOR
Bill, I don't think we should be
begging this guy for his services.
DEVANEY
Sy, I'm handling this.
Rachel looks on coolly as Frank slides open the glass door.
DEVANEY
Farmer, will you wait a minute?
18.
20 EXT. MARRON GROUNDS - BACK LAWN - DAY 20
Frank is walking rapidly away from the window wall, down
the slope. Devaney is scurrying to keep up.
DEVANEY
Farmer, will you wait a minute? I
should have told you more. I'm
sorry but I was afraid she wouldn't
go through with it. I thought I'd
let the two of you work it out...
come to an understanding.
FRANK
We did.
Frank starts to walk off. Devaney is grasping at straws.
DEVANEY
She's not a bad person, and whether
she knows it or not, she needs you.
(a beat)
You've come this far... Would you
just wait here for one minute. I
want to show you something. Please,
Farmer.
Devaney runs back to the house.
21 EXT. POOL AREA - DAY 21
Fletcher, happy to have someone to talk to, walks up to
Frank with his remote-control speed boat. Frank would
like to walk away, but Fletcher blocks his way. Frank
looks at Fletcher's frail little, nut-brown figure. The
watching nanny continues her embroidering, some way off.
FLETCHER
Hi!
FRANK
(continuing to walk)
Hi.
FLETCHER
How are you today?
FRANK
(wants to keep walking)
All right. How 'bout yourself?
FLETCHER
Oh, I'm fine. Do you like boats?
19.
Frank gives up. He's not going to get out of here. He
stops.
FRANK
No. I don't like boats.
FLETCHER
You don't! Why not?
FRANK
Oh, I don't know.
FLETCHER
Sure you do, but you don't want
to tell me.
Frank considers him, then slips out of his sport coat.
He crouches down so that he is eye-level with Fletcher.
FRANK
You're a smart kid.
Fletcher nods.
FRANK
I'll tell you. One time I was
stuck on a boat with some people
for four months.
FLETCHER
A lifeboat?
FRANK
Nope. A big white yacht. Do you
know what a yacht is?
FLETCHER
(thinks about this)
Yeah. My mom rented this huge
yacht once, and we took a trip.
It was great. Everyone threw up
except me. I love 'em.
FRANK
(standing to leave)
Well, nobody's perfect.
Fletcher squints up at him, the sun in his eyes.
FLETCHER
You're the bodyguard, aren't you?
Frank is surprised.
FRANK
What do you know about it?
20.
FLETCHER
I've got ears.
FRANK
I'll remember that.
Devaney trots into the pool area, out of breath. He is
holding a bulging manila file. As he sees Fletcher, he
holds the file casually at his side.
Frank sees Fletcher looking at the file.
DEVANEY
How are you, Fletch?
(to Frank)
I'm glad you waited. Let's go
over here.
FRANK
(to Fletcher)
Nice meeting you.
Fletcher looks after them silently.
22 EXT. PATIO - DAY 22
Devaney slides the file across the table at Frank, opening
it. Inside are letters of every size and condition.
Repeatedly throughout this scene Frank's gaze is drawn to
Fletcher, who has started his boat again.
DEVANEY
This is just in the last six months.
FRANK
(looks at the pile)
Have you ever tried having these
professionally assessed?
Devaney shakes his head no.
Frank begins to look through the letters, flipping them by
the corner of the page. From many different sources, some
are scrawled, some typed, some assembled from cutouts.
Many are soiled and torn, others immaculate. Occasionally,
one will have a photo of Rachel with crude markings on it.
Spector enters sucking on a popsicle. He comes to stand
over Frank's shoulder, peering nonchalantly at the piles
of letters.
SPECTOR
Devaney says you were in the Secret
Service.
Frank nods.
21.
Frank goes through them quickly, with an expert eye. He
sometimes pauses to read one more carefully. A few he
removes from the stack and places in the center of the
table.
SPECTOR
Ever guard the main man?
FRANK
I was two years with Carter and
four years with Reagan.
Frank sets another letter in the center pile. He stops,
smiling at it.
FRANK
This is a little old lady in
Akron. She's written to
everybody I've ever worked for.
He continues to turn until something stops him. Several
letters are paper-clipped together. They are the pastedup
type we saw being assembled on the desk top.
SPECTOR
Reagan got shot.
His chatter is beginning to annoy Frank.
FRANK
Not on my shift.
Spector emits a gratuitous laugh, acknowledges the joke.
SPECTOR
That's good.
Frank goes back to his letters. He taps the stack in
the center of the table.
FRANK
At first glance, these don't
bother me. But keep them. You
never know.
He separates one letter from the others.
FRANK
This could be something.
Devaney searches Frank's face.
DEVANEY
You think it could be the same
guy? The one who rigged the doll?
22.
FRANK
I don't know. Did you tell Miss
Marron about it? Does she know
about the doll?
Devaney and Spector exchange looks. This is evidently a
sore point between them.
SPECTOR
We said there'd been some electrical
problem while she was on stage.
Short circuit. Look, she doesn't
need that kind of worry right now.
It would upset her.
FRANK
What about the police?
SPECTOR
There was no reason for the police.
No one got hurt.
FRANK
What about the chauffeur?
SPECTOR
It was nothing. It was just our
people there.
Frank turns and watches Fletcher by the pool. Devaney's
eyes are still on Frank's face.
DEVANEY
Sy, I think we should show him
the room.
23 INT. ROOM - DAY 23
Frank follows Spector and Devaney into the room. He
glances around, taking in the murals, the decor, the
kitsch attempt at fornicatorial splendour right from
the pages of a tabloid layout.
FRANK
Is this her bedroom?
SPECTOR
Yes.
DEVANEY
No. She sleeps in a room next to
Fletcher's down the hall. Sy had
this done for a magazine layout,
SPECTOR
'Superstars in their Boudoirs.'
23.
Did you see it?
FRANK
No.
DEVANEY
Rachel never liked it.
SPECTOR
She didn't have to like it...
Devaney gently lays the cut-out letter on the bed.
DEVANEY
We found the letter here.
FRANK
Somebody was in here?
DEVANEY
Somebody broke in and ...
masturbated on the bed.
FRANK
And she doesn't know about this
either?
Devaney shakes his head.
SPECTOR
Are you kidding? This would really
freak her out.
DEVANEY
What do you think?
FRANK
Someone penetrates the house, gets
upstairs and jerks off on the bed
... I'd say that qualifies as a
problem.
DEVANEY
What kind of problem?
SPECTOR
(agitated)
Of fuck, we don't need this now...
FRANK
This house is wide open.
SPECTOR
Excuse me?
FRANK
I said this house is wide open
24.
and you people have no clue what
real security is or what it takes
to achieve it.
DEVANEY
(does a quick read
on Frank)
Frank, I totally respect what
you're telling me. Tell me how
you want to work and I'll
accommodate you.
FRANK
Look, I can't protect her. I won't
be responsible for her safety if
she doesn't know what's going on.
DEVANEY
I'll talk to her, I'll make her
understand. I can do that.
SPECTOR
No. I'll talk to her.
Spector exits the room in a huff.
24 EXT. MARRON HOUSE FRONT - DAY 24
Frank emerges with Devaney and crosses toward his car.
DEVANEY
...She won't give you any static,
Frank, you've got my word on that.
Frank is still focused on Fletcher.
FRANK
Sure she will.
DEVANEY
So what job's perfect? You're
a bodyguard, aren't you?
Slowly, Frank faces him.
FRANK
(quietly)
Yeah.
As they reach the car, Devaney is relieved. He dares a
perfect smile.
FRANK
Devaney, if you ever lie to me
again, I'll take you apart.
25.
25 INT. MARRON MANSION - FRANK'S ROOM - DAY 25
Henry Dupres is leaning against the doorjamb. The room
is comfortable, a guest bedroom. Frank flops one
battered suitcase onto the bed and opens it. He pulls
open some drawers in the dresser and starts putting away
his clothes.
HENRY
Why'd you say your name was
Edison?
FRANK
I wanted to see how hard it
was to get in.
HENRY
And it wasn't, was it?
Henry unconsciously flexes his fingers, easing the muscles
in his hands. Frank notices and pulls out a small tube of
ointment from a pouch he's unpacking. He hands it to Henry.
FRANK
Put this on your arm. It'll help
the ache.
Henry takes it but is noncommittal.
FRANK
I'll bet you can fill up a whole
day just washing the cars and
driving Rachel Marron around town.
HENRY
That's my job.
FRANK
We're adding to your duties.
HENRY
Huh?
FRANK
You're my new assistant.
Frank removes three boxes of cartridges from the suitcase
and puts them in the back of a dresser drawer as Henry
watches.
HENRY
Says who?
FRANK
Henry, I've spent a lot of time
guarding people all over the world
26.
and I've found one thing to be
true. No matter how incompetent
the assassins, no matter how much
they miss their target by, there's
one person who always gets hit.
HENRY
Who?
FRANK
The cocky black chauffeur.
Henry considers this for a moment and smiles.
OVER scenes 26-28, we hear the VOICE of CNN's MARTIN
GROVE from "Showbiz Today."
MARTIN GROVE (V.O.)
It's Oscar time again, folks, and
with Academy members marking their
ballots today for this year's
nominations; some canny tipsters in
Vegas have announced their picks
for the Awards.
MARTIN GROVE (V.O.)(CONT'D)
Echoing the prevailing buzz in
Hollywood, the Vegas Hilton is
gambling on one sure thing at
least. Newcomer Rachel Marron
is tipped at 3 to 1 to lead this
year's Best Actress runners.
MARTIN GROVE (V.O.)(CONT'D)
The sultry singer made a notable
acting debut last fall in Queen
Of The Night, singing the hit song
'I Have Nothing'. The lady may
end up eating her words if she
takes home that statuette March
20th...
26 EXT. PERIMETER OF ESTATE - VARIOUS SHOTS - DAY 26
The fortification of the estate begins as Frank and
Henry walk the grounds. Frank talks and points, Henry
takes notes on a pad. Frank gestures at the stonework
of the gate, points at the top of the stone wall along
Waverly Lane. At the tall hedges which separate the
estate from its neighbors, Frank gestures to take in
the entire length of the hedged border. Henry stops
in amazement. Frank keeps walking.
27 EXT. MARRON ESTATE - POOL AREA - DAY 27
27.
Fletcher stands at the edge of the terrace, staring down
across the rear grounds.
FLETCHER'S POV
Frank and Henry are down there conferring about the
fence.
RACHEL
appears beside Fletcher, looks down there too, then leads
her son purposefully away. Fletcher isn't happy about it.
28 INT. MARRON MANSION - VARIOUS SHOTS - DAY 28
Frank tours the house with Emma and Henry. Frank opens
various doors, fidgets with locking mechanisms. Emma
finds it all exciting.
29 INT. MARRON ESTATE - POOL HOUSE/BALLET STUDIO - DAY 29
A small room at one end of the pool house has been fitted
with a wall mirror and ballet exercise barre. A STEREO
plays exercising MUSIC.
Nicki, dressed in leotards, is doing pre-aerobic stretching
exercises. Frank appears outside the window. Nicki
waves him in. Unseen by Frank, a huge St. Bernard lays
in the front of the door. He muscles his way in, the dog
never moves, just slides along the floor as Frank pushes
the door open. Frank looks the room over.
FRANK
Unusual tactic for a guard dog,
but effective.
Nicki smiles, gesturing him in.
NICKI
You can look around if you like.
Frank indicates it won't be necessary. Nicki stops
working out.
FRANK
I'm sorry to disturb you.
NICKI
That's all right. It's an excuse
to rest. It's my private place.
I'm the only one who works out
around here.
Frank glances at photos on one wall. Most are of Nicki
from years ago; some show her performing with a band.

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