THE BODYGUARD

NICKI
My own ego wall. No platinum
records.
Frank spots a picture of two girls.
FRANK
You and Rachel?
NICKI
When I was a kid, I put a little
band together. We played high
school dances, stuff like that.
Then Rachel joined the act. As
you can imagine, she was quite a
little entertainer. Even then,
she had a way of stopping the show.
So I kind of quit. Professionally,
anyway.
FRANK
You never went back?
NICKI
It was pretty obvious who the
star in our family was.
Frank looks back at the picture. Nicki smiles.
30 EXT. MARRON ESTATE - GARAGE AREA - DAY 30
Frank and Henry walk toward the closed garages.
HENRY
That depends on what you call a
'hint.'
FRANK
I don't want anyone on the street
to be able to look at the cars and
know who owns them.
Henry leans in a doorway and hits a master switch. The
three doors of the garage start to rise in sequence.
HENRY
I don't think there's anything
here you'd call a 'hint.'
One at a time the doors go up to reveal:
First garage -- the Cadillac limousine we've seen earlier.
License: RACHEL 2
Second garage -- a gray Mercedes. License: RACHEL 3
29.
Third garage -- a Jaguar XKE in an outrageous pink. No
other car in the world is this color. License: RACHEL 1
Frank looks at Henry, who is laughing and shakes his head.
He walks toward the Jag.
Frank releases the hood. He looks inside for a moment,
then reaches into the guts of the engine. He fiddles for
a second, then stands up holding some wires and slams the
hood shut again. He gestures toward the other two cars.
FRANK
Get new plates for those two.
31 EXT. GATE AREA - DAY 31
The fortification continues as workmen use a bulldozer to
clear away the stonework around the entrance.
32 EXT. DRIVEWAY OF MARRON ESTATE - DAY 32
Sitting beside Henry, Frank teaches him how to spin the
limo in a 180 degree 'skid turn,' sending up clouds of
dust. A group of roadies watching bursts into spontaneous
applause.
33 EXT. GATE AREA - DAY 33
Fletcher sits on the grass about halfway to the house,
watching the activity with delighted interest.
He turns as he spots something beyond the hedge.
FLETCHER'S POV
Workmen put up a seven-foot cyclone fence. Across the
road, a black Toyota 4 X 4 is stopped. It slowly pulls
away. We can't see inside it.
34 EXT. GATE AREA - DAY 34
One worker pries a small boulder out of a hole with a
crowbar. His partner picks up the rock and tosses it
on a small pile of rocks. The boulder bounces down the
backside of the pile.
35 INT. RACHEL'S BEDROOM - DAY 35
Rachel, looking out her window at Fletcher and the workmen,
sees the rock stop a yard from him. Fletcher
scrambles away, much as a kid might dance back from a
30.
wave on a beach. The sight disturbs Rachel.
RACHEL
Fletcher! C'mon. Back in here!
As she speaks, some workmen test the remote control on a
window shutter. It descends in front of Rachel's face.
She is not amused. Fletcher passes Frank on his way to
join Rachel. He mutters almost under his breath.
FLETCHER
I think he's got a black 4 X 4. Could
be a Chevy. More like a Toyota.
Frank stares at Fletcher, then looks back to the street.
36 INT. F.B.I. LOS ANGELES OFFICE - CONFERENCE ROOM - DAY 36
The room is dark. An opaque projector throws an image
onto a screen; it is a letter threatening Rachel's life.
We hear voices. One is Frank's; the other two belong
to special agents RAY COURT and TERRY MINELLA.
The letter is one of the pasted-up threats we saw being
assembled earlier. It reads:
MARRON BITCH -- YOU HAVE EVERYTHING
I HAVE NOTHING. THE TIME IS COMING
WHEN YOU SHALL DIE...
Reading as fast as possible, we pick up some vicious
threats and obscenities, but we don't have time to read
it all before we...
CUT TO:
FRANK'S FACE
illuminated by the screen.
COURT (O.S.)
This is another of the ones we
think are worth pursuing. Lots of
work went into it. No prints.
We're doing lab work on it. It
could be nothing.
MINELLA'S FACE
is illuminated above the projector.
MINELLA
This is the one you think is tied
to the doll?
FRANK (O.S.)
That's what her manager thinks.
31.
COURT (O.S.)
This 'I Have Nothing' business is
a natural with the record and
movie and all.
The projector light goes off and the room light goes on.
The room is practically bare.
Ray Court, a prematurely white-haired, career civil
servant, raises the window shade. Sunlight streams
in. On Court's lapel is a tiny P.T. Boat pin.
Terry Minella, a slight, dark 35-year-old, offers Frank
a cigarette; Frank declines, Minella lights up.
COURT
I sort of lost track of you after
Washington.
FRANK
Yeah.
COURT
How's the private stuff?
FRANK
(noncommittal)
Fine.
COURT
Big money, I bet? Huh?
Frank shrugs. Court looks at Minella knowingly.
37 INT. FEDERAL BUILDING - DAY 37
Minella and Court walk Frank to the lobby.
COURT
Shit. I knew it. It is big money.
Fuck! You need an assistant? I'm
ready to get out. I've lost my
tolerance for assholic behavior.
You should see the jerk we're
covering now...
COURT
'Hellfire Henry' Kent...
MINELLA
Shh! Somebody wants to pop him...
COURT
Which isn't exactly surprising,
considering what the shithead's
32.
been saying.
MINELLA
Yeah! Do everyone a favor...
(he coughs,
ironically)
As you know, we're nonpolitical
these days.
The three men laugh easily together. They have reached
the lobby doors.
COURT
(to Frank)
We'll put this stuff through
Washington. Behavioral Sciences
should have something in a few days.
FRANK
Thanks.
(a pause)
Ray?
COURT
Yeah?
FRANK
Why am I getting all this
cooperation?
MINELLA
She's a big star. Important
people care about her.
COURT
Politics and show business are
practically the same these days...
Got any crowd photos we can use?
FRANK
I'm trying to keep her away from
crowds.
COURT
Good luck.
38 INT. THE IVY - DAY 38
It's busy. Lots of customers arriving, leaving and
seated at tables. Waiters criss-cross the terrace. Near
the entrance, Rachel is saying goodbye to a middle-aged
WOMAN. Frank stands nearby with Nicki. The Woman says
something to Rachel, who turns and looks at Frank.
Rachel whispers something to the Woman and they both
laugh. They kiss and Rachel moves toward the entrance.
33.
WOMAN
(an afterthought;
phony)
Goodbye, Nicki. So great to see you.
Nicki waves and follows Rachel. Frank stays very close
without seeming to walk with Rachel.
A little girl darts into their path and approaches Rachel.
Rachel glances at Frank, who has stopped with her, then
she signs an autograph for the girl. The girl's mother,
close behind her, hands a small camera casually to Nicki
to be photographed as she and her daughter pose with
Rachel. Frank watches Nicki quietly comply.
Rachel, Spector and Frank all reach the front entrance
together, and Frank slips out first, glancing around.
Rachel comes out and passes within inches of him.
RACHEL
I'm surprised you didn't plug them.
39 EXT. THE IVY - DAY 39
Rachel attracts the usual stares from passersby. As
they reach the limousine, Frank continues scanning the
street. Tony stares at him, uncomprehending.
TONY
(impatiently)
Hey, let's go.
Frank takes a last look then gets into the front seat
next to Tony.
FRANK
(across Tony)
O.K. Henry, let's go.
Tony looks at Frank, eyes narrowing.
From across the street, we see the limo pull away. As
the shot clears, the dark shape of another vehicle
appears, slowly moving into frame over the top of the
camera.
40 INT. FRONT SEAT OF LIMO - DAY 40
Frank sits beside Tony, next to the door. Tony speaks
to him in a near whisper.
TONY
Let me set you straight on a few
things. For starters, I love this
lady... What I do for her I do for
34.
love. I'm not some hired fuckin'
gun who is out to make her life
miserable.
While Tony speaks, Frank's eyes dart to the side mirror;
his gaze never leaves it.
FRANK'S POV - BLACK TOYOTA
appears in the rearview mirror.
BACK TO SCENE
TONY
I do things the way she likes.
Her happiness is everything to me.
Frank speaks while concentrating on the mirror.
FRANK
No problem. I'd like to know how
you handle things, Tony.
TONY
I handle things fine, Frank. You
watch me and you'll learn something.
FRANK
(to Henry)
Turn left.
HENRY
Is that him?
Frank shakes his head, he's not sure. Tony reacts.
TONY
Hey, what's going on?
FRANK
Shortcut.
FRANK'S POV - TOYOTA IN REARVIEW MIRROR
As the limo turns, the 4 X 4 follows them into the turn.
ANGLE - FRANK
whispers to Henry.
FRANK
Slow down, very slow.
HENRY
You want me to do a one-eighty?
35.
FRANK
No, just slow down.
The car slows.
ANGLE - SPECTOR AND RACHEL IN BACK
They look up from some papers.
SPECTOR
Why are we stopping? Are we here?
Behind them, THROUGH the rear window, the 4 X 4 can be
seen. Sensing something, it makes a sudden TIRESCREECHING
left turn, disappearing behind them.
41 EXT. MARRON ESTATE - DAY 41
The limo enters the gate where workmen are rigging a
large fence.
42 INT. LIMO - DAY 42
Frank speaks to Henry.
FRANK
Stop here... Take them to the
house.
Frank jumps out and jumps a hedge, racing toward the lawn
and work area.
ANGLE - TONY, RACHEL AND SPECTOR
As the car pulls away they see Frank running wildly across
the property.
TONY
What's with him?
43 EXT. MARRON ESTATE - DAY 43
As Frank comes through some bushes, he suddenly catches a
glimpse of the 4 X 4 through the trees. It starts to
accelerate.
As it pulls away (it is too far to record the license
number), he breaks into a full run toward the other end
of the property.
Leaping hedges, Frank crashes through tropical vegetation.
CRASHING through a bamboo forest, he scurries down a
steep wooded slope toward the road below. The 4 X 4 can
be glimpsed through the trees as he runs to head it off.
36.
A retaining wall about 14 feet high rises from the road
to the slope. Without a pause, as the car speeds beneath,
Frank leaps and drops the full distance to the road. The
4 X 4 ROARS PAST just missing him and turns a corner.
Hitting hard, Frank allows his knees to take the force of
the fall, deliberately rolling once before he springs
into a crouched upright position.
But the 4 X 4 speeds around a corner and is gone.
44 INT. MARRON ESTATE - DAY 44
The fortification continues as workmen tighten screws,
install electrical wiring, test alarms. As Frank watches
over the work, we see him show Henry how to wear a SURV
KIT communications system.
FRANK
Keep this loose.
Fletcher comes to take a look too. He peers up at Frank,
expectantly.
FLETCHER
Tell me about the car?
FRANK
Toyota. Black.
FLETCHER
Four wheel drive? Late model?
Frank nods. Fletcher looks pleased.
FRANK
One snag though.
Fletcher's face falls.
FLETCHER
What?
FRANK
360,000 of them in Los Angeles. I
checked. Nice work, though.
FLETCHER
(shrugging)
Well, nobody's perfect, Frank.
Are they?
(gesturing to the
SURV KIT)
Can I try that?
37.
45 EXT. MARRON ESTATE POOLSIDE - DAY 45
Rachel has been watching Fletcher and Frank down the
hill. Now she leans back on the chaise lounge where
she is sunning, trying to listen to a new song on a
Walkman.
There is the SCREECHING howl of a DRILL on METAL from
the direction of the house. Rachel jumps up and yells
toward the house.
RACHEL
Shut up you assholes!
46 INT. RACHEL'S BEDROOM - DAY 46
A mild-looking OLD LOCKSMITH is working on Rachel's
window. Rachel walks in from the pool, starting to
peel off the swimsuit. She stops, startled, as she sees
him. This is the last straw. She blows up.
RACHEL
(clutching the
swimsuit)
You! You! Out! Out! Now! Out
of here! Get out!
Terrified, the Old Locksmith drops his tools and begins
backing out of the room.
OLD LOCKSMITH
Yes, ma'am. Thank you. I'm a real
fan of yours, Miss Marron.
Still angry, but disarmed, Rachel makes a face.
RACHEL
Then you can take your tools with you.
She turns to the window, in what she imagines is
Frank's general direction, and, like a little girl,
suddenly sticks out her tongue.
47 EXT. MARRON ESTATE - GATE/GUARD HOUSE - DAY 47
In a BIG CLOSEUP ON a black and white TV screen, we see
Devaney's immaculate convertible Mercedes 500SL as it
roars up the drive. Frank, Henry and Fletcher watch in
the newly-erected guard house. The area is greatly
changed. There is a uniformed guard with an impressive
array of switches, lights and phones at his command.
There are several TV screens; one of them shows a series
of endlessly-panning shots from cameras at the rear of
38.
the grounds. On the other, the Mercedes kicks up dust
from the last few curves in the drive. Fletcher shakes
his head. He's seen it all before.
HENRY
Is that Devaney?
FLETCHER
(to Frank)
She's got him by the short ones,
doesn't she, Frank?
Frank squelches a smile at Henry. Where did he learn
that?
FRANK
Yeah, she makes him nervous.
They watch as Devaney SCREECHES to a STOP, gets out and
hurries inside.
48 INT. FAMILY ROOM - DAY 48
Nicki is cutting fruit at the bar. Rachel, very tense,
is taking the fruit and dropping it into a yogurt drink
she's making in a blender.
Rory, her choreographer, stands behind her, massaging her
neck and shoulders. Spector is perched on a bar stool
like a vulture. Devaney hurries into the room; Nicki
gives him a look.
RACHEL
I want him gone.
DEVANEY
What is it now?
NICKI
He told Rachel no Sunday brunch
at Charlie's.
DEVANEY
No Sunday brunch. That's why you
called me up here?
RACHEL
That is not it! It's my money
and my life and I want him out
of here.
DEVANEY
Where is he?
Nicki indicates through the glass door. Devaney walks
over to it.
39.
NICKI
On the patio.
RACHEL
He's through messing with my life.
DEVANEY
Rachel, I'm getting goddamn sick
of running up here every time he
steps on your toes.
(leaning out the
glass door)
Farmer! Would you come in here
a minute?
Devaney walks back toward Rachel.
RACHEL
Did you know he was nuts?
SPECTOR
Do you know who couldn't get
past the gates yesterday?
RACHEL
Who?
SPECTOR
Robin Leach, that's who.
Rory sniggers into the back of Rachel's hair, fighting
off a laugh. Rachel has difficulty keeping a straight
face, too. Spector glares at them as Frank enters from
the sliding door.
SPECTOR
You think that's funny? The
man talks to 20 million people
and he can't even get in here.
FRANK
Did he have an appointment?
Devaney turns to him.
DEVANEY
Farmer, what is this about
brunch at Charlie's? Rachel's
been going there every Sunday
for the last five years.
FRANK
I don't want her doing anything
she's always done.
40.
RACHEL
(mimicking him)
'I don't want her doing anything
she's always done.' The guy's a
fanatic.
DEVANEY
So are the guys he's protecting
you from.
RACHEL
Excuse me if I don't faint.
NICKI
Think of Fletcher --
Rachel turns ON the BLENDER, drowning out Nicki's voice.
Frank looks at Rachel coolly. She stares at him
petulantly, then turns OFF the BLENDER.
RACHEL
Do you know he's got the phones
bugged?
SPECTOR
Oh Jesus, Bill.
RACHEL
Maybe he gets off listening to my
calls. All that heavy breathing...
DEVANEY
(interrupting)
What do you want from my life?
RACHEL
I want some peace around here.
SPECTOR
That's right.
Devaney looks at Frank imploringly.
FRANK
We're almost done.
RACHEL
And I want to be able to eat
brunch with my friends.
FRANK
Go on Tuesday this week.
Spector looks at him as though he were a Martian.
41.
SPECTOR
(stretching it out)
Tuesday -- morning -- brunch.
Where did you find this guy?
Rachel turns ON the BLENDER and stares at Frank.
48A EXT. THRIFT SHOP - VALLEY - DAY 48A
Rachel's limousine is parked opposite the shop. It's
a decidedly downscale area. A little way off, a group
of unemployed youths hang around, eyeing the limo with
interest. Henry sits at the wheel. Tony stands by the
open window, leaning against the car.
HENRY
(looking at the
youths)
I wish Rachel didn't keep coming
here. It makes me nervous.
TONY
Me too. 'Cept I'm not nervous
'cos I got you with me.
49 INT. THRIFT SHOP - CLOSE ON CLOTHES HANGER - DAY 49
SCREECHING as it's slid along a metal rack.
Rachel is shopping for bargains, moving along racks of
discarded clothing.
RACHEL
Louise, you've got too much great
stuff.
OWNER
(from the back of
the shop, laughing)
Take it all, darlin'.
Frank leans casually against a wall, not watching Rachel,
but watching the shop, watching the street outside.
Rachel finds something she likes.
RACHEL
Wooo! Let me try this on.
She flicks a glance to Frank; he's not looking at her.
She pulls back the curtain of the makeshift changing
booth, then stops dramatically.
42.
RACHEL
(to Frank, indicating
the open booth)
Farmer, do you want to come in
here with me? Just to be safe?
Frank glances at her, then resumes his surveillance of
the shop. Rachel's head bobs up and down above the
curtain as she changes.
RACHEL
You probably won't believe this,
but I have a reputation for being
a bitch.
Frank says nothing. He gazes outside through the storefront
window and sees Henry and Tony horsing around next
to the limo. A few small boys stand around the car. One
of them is climbing onto the hood.
RACHEL
I didn't used to be. But you get
known for being a certain way --
a way people think you are -- and
pretty soon you get like that.
Can't help it.
Frank smiles knowingly. Rachel notices.
RACHEL
You don't think so? You're such
an expert on famous people?
FRANK
I've seen a few.
RACHEL
And you disagree?
FRANK
(very flat)
You can be as you choose to be.
It's an act of discipline
sometimes, but it can be done.
Rachel stops in her tracks... then opens the curtains and
looks at herself in the mirror. Also reflected in the
mirror is Frank.
RACHEL
That why you never stay with one
of your clients? They too
undisciplined for you? Or is it
you're afraid you'll start to
care about them?
43.
FRANK
(without interest)
That's right.
Rachel turns to Frank.
RACHEL
Can't you answer straight just
once? Why don't you talk to
me? I'm not such a bad lady.
FRANK
You're too clever for me. I can't
keep up.
Frank continues to search the shop and street with his
gaze. Rachel steps closer to him.
RACHEL
Look at me, Farmer!
Frank turns and looks at her.
RACHEL
You don't approve of me, do you?
FRANK
Disapproval's a luxury I can't
afford. Gets in the way.
RACHEL
Don't like emotions getting to you,
huh? Never mix business with
pleasure?
FRANK
That's right.
It's a stand-off. After a moment, Rachel motions to
an outfit on a rack just behind him.
RACHEL
Grab that would you?
Frank takes a beat. Looks out the window.
FRANK
I'm here to keep you alive... not
to help you shop.
Fuming, Rachel sizes things up, then grabs it herself,
whipping the curtain shut behind her.
A smile plays across Frank's face.
44.
50 INT. DARKENED ROOM - CLOSEUP - NIGHT 50
We see a man's hands remove a video cassette from its
sleeve. The cover reads "RACHEL MARRON - THE #1 HITS."
The CASSETTE is gently eased into the slot of the video
player.
Rachel's image appears on the screen, singing softly,
intensely, passionately into the camera. WE TRACK INTO
the image, as if a little hypnotized by it.
ANGLE FRANK
Frank sits alone in his room, lit by the glow of the TV,
dressed in a business-style blue suit and tie. He's
watching Rachel's videos. Scattered around the video
player are a collection of other Rachel Marron CD's,
tapes and videos. Frank has been noting down lyrics on
the yellow legal pad on his lap. Some of the phrases
are circled.
As he watches, we see a subtle change in his expression.
It is as if he really were looking at Rachel for the first
time, here, watching her sing. For a second, she seems to
be singing to him alone, passionate and vulnerable.
He opens a small box and removes a tiny enamelled Russian
Orthodox-type cross. He fastens the clasp, checking that
it holds, then looks back to the screen.
51 EXT. MARRON ESTATE - NIGHT 51
Rachel's SONG PLAYS OVER the moonlit estate.
52 INT. RACHEL'S BEDROOM - NIGHT 52
The room is surprisingly bare and simple, almost empty
apart from Rachel's collection of old and faded dolls
on the shelves and on the bed. Rachel is getting dressed
for the evening. A hairdresser stands behind her,
fussing with her hair. Rachel hears the MUSIC coming
from outside and moves to the window. (The hairdresser
moves with her, still busy with the brush.) Gazing
across the garden, she sees the light in Frank's room
and hears her own voice singing out from there too.
53 EXT. MARRON HOUSE - NIGHT 53
Frank is showing Henry how to check the underside of the
limo with an angled mirror on a stick. Both are crouched
beside the vehicle. A noise makes them look up. Rachel,
dressed to the nines and looking very sexy, emerges from
the house with Spector and Devaney. Spector's carrying a
videotape. Tony follows as they head for the car, where
45.
Frank and Henry are waiting. Fletcher stands in the
doorway, flanked by uniformed security guards. He waves
at Frank.
FRANK
(to Henry)
I thought it was dinner.
Henry shrugs.
FRANK
(to Spector)
Are we going somewhere else?
SPECTOR
The Mayan, Frank.
FRANK
What's the Mayan?
Spector starts to climb into the limo.
SPECTOR
It's a club, Frank. Come on,
Henry, let's go.
FRANK
Spector, you've got to tell me
about these things.
SPECTOR
I just did.
He disappears inside the limo.
Rachel tugs at Frank's lapels, looks him up and down,
brushing something off his shoulder. Frank's annoyed.
RACHEL
Nice suit, Frank.
Rachel is about to get in.
FRANK
Rachel.
He removes something from his pocket, a small enameled
cross.
FRANK
I want you to keep this.
Rachel looks at it, both flattered and confused.
RACHEL
For me? It's beautiful.
46.
FRANK
It's fitted with a radio
transmitter. When you close the
clasp, it sends a signal. If
there's ever a problem and we're
separated, just press it and I'll
know you need me.
Rachel doesn't know how to respond. She's stuck for
words. Spector pokes his head out impatiently.
SPECTOR
Okay, she knows how it works,
let's get going.
Rachel manages a quick smile to Frank as she gets in the
back. Frank gets in the front beside Tony. The limo
pulls out.
54 INT. LIMO - NIGHT (LATER) 54
Frank rides beside Tony in the front seat. The RADIO
PLAYS SOFTLY in the b.g. In back, Rachel, Spector and
Devaney are drinking champagne. Tony burps, smiles
at Frank.
RADIO D.J. (V.O.)
You're listening to K.R.O.K., the
rock of L.A. and yes we have.
(MORE)
RADIO D.J. (V.O.)(CONT'D)
We told you we'd crack the case
of the mystery guest... and if
you are one of the few who hasn't
heard, it's Rachel at the Mayan.
Franks turns UP the VOLUME.
RADIO D.J. (V.O.)
Rachel Marron, tonight, appearing
as Billy Thomas' very special
guest. But if you don't have a
ticket, you can forget going
down there. Police are asking
us to ask you to stay away. So
everybody, please stay cool,
stay tuned and we'll try to get
you some interviews after the
show. Remember, you heard it
here on K.R.O.K. -- the station
that delivers.
Frank looks back at Spector who silently mouths --
47.
SPECTOR
It wasn't me.
The car turns a corner and there it is, The Mayan only
fifty yards ahead, a mob of fans spilling out of the
club, off the sidewalk and into the street.
TONY
Fuckin' a.
Spector whoops with uncontrolled delight from the back of
the limo. Frank stares ahead in disbelief. The NOISE
of the CROWD can be heard as they pull up front.
55 EXT. THE MAYAN - NIGHT 55
The mob reacts to the sight of the approaching limo which
turns into the parking area and heads for the backstage.
Faces of the fans are at the windows leering at Rachel.
Many are grotesquely painted. Some go into a wild frenzy
as Rachel's limo pulls up. There is a punch-up and a man
is beaten back. Someone has a video camera. Its quartz
light shines in through the limo windows. Everybody
squints at the glare.
56 EXT. BACKSTAGE ENTRANCE - NIGHT 56
As Rachel's car pulls up, the beaten man dances weirdly
at the curb with blood streaming from his nose.
A pair of security guards try to hold them back. As her
limo stops, a chant begins.
CROWD
Rachel! Rachel! We want Rachel!
Others join in as the mob presses forward.
The instant she exits the car, her expression goes public
-- a wide, show-biz smile. Sandwiched between Spector and
Devaney, with Tony in front and Frank at the rear, Rachel
makes her entrance.
A young man breaks the barrier moving toward Rachel.
Frank grabs him by one of his belt loops, gracefully
guides him all the way across and slips him under the
opposite cordon into the arms of a security guard.
57 INT. RACHEL'S DRESSING ROOM - NIGHT 57
Rachel steps into a room set for a star's arrival.
Flowers are on every surface that will hold them. One
huge arrangement is so big it has to be placed on the
48.
floor. Frank checks them all with a magnometer wand
before letting Rachel sit down. He goes out, closing
the door, watchful.
58 INT. BACKSTAGE - NIGHT 58
Frank's eyes search the crush of people, milling around
outside the dressing room. A few feet away, Spector talks
to a JOURNALIST who's carrying a tape recorder.
JOURNALIST
... and this is my exclusive?
SPECTOR
I swear I thought she'd talk to
you. Maybe later. What can I
say.
Frank is checked out by a strange-looking women in
Vampyra Drag.
59 INT. DRESSING ROOM - NIGHT 59
Rachel sits in front of the mirror putting on the silver
headpiece we saw earlier. She notices a small spray of
lilies-of-the-valley among the floral arrangements.
An envelope marked "Rachel" is attached to it. She
reaches forward and opens it.
We see the note as she unfolds it.
MARRON BITCH - YOU HAVE EVERYTHING
I HAVE NOTHING - PREPARE YOUR SOUL
FOR DEATH - THE TIME TO DIE IS...
We see the shock in her face.
60 INT. STAR'S SUITE - NIGHT 60
Spector, Frank, and Devaney are there. Rachel seems
dazed, unfocussed. Devaney hands the note to Frank.
DEVANEY
He sent another one.
Rachel immediately picks up on this.
RACHEL
What do you mean 'another one'?
Frank quickly shoots a look at Spector.
FRANK
They didn't tell you.
49.
RACHEL
Tell me what?
DEVANEY
There were some letters before,
Rachel... same kind of thing,
threats, oddball stuff...
SPECTOR
We didn't want to worry you...
DEVANEY
... and somebody got into the
house...
RACHEL
(starting to panic)
Someone was in my house?
SPECTOR
Okay. Let's not get hysterical...
FRANK
Let's get her out of here.
RACHEL
Someone was in my house?
SPECTOR
It was weeks ago. You were out of
town...
RACHEL
While Fletcher was there?
SPECTOR
Listen, Fletcher is okay. The
house is like Fort Knox now.
Right, Frank?
FRANK
We should get her out of here.
Right now!
SPECTOR
There's no way anyone could...
RACHEL
No way anyone could what?
SPECTOR
No, wait... look everybody calm
down. Calm down.
DEVANEY
Sy.
50.
SPECTOR
Let's just see how she is.
(to Rachel)
How do you feel, honey?
Someone comes through the door with some flowers. Frank
eases them out and gently closes the door.
FRANK
I can't protect her out there.
RACHEL
Do you think he's out there?
Devaney can't answer. She turns to Frank.
RACHEL
He's here, isn't he?
FRANK
He might be.
SPECTOR
We don't know that. Frank, we
don't know that.
Rachel is enraged.
RACHEL
But you know he was in my house...
oh my God.
DEVANEY
Let's go home, Sy. We'll have to
make an announcement.
SPECTOR
Fine, you make it, they'll tear
the fucking place apart.
61 INT. ONSTAGE - NIGHT 61
A lone mike stands onstage. The crowd's growing impatient.
A RHYTHMIC CLAPPING begins. Devaney walks
timidly onstage. He's not happy to be there. He reaches
the mike and taps it with a finger.
DEVANEY
Excuse me... hello... I've got
an announcement to make. I'm
sorry but... due to circumstances
beyond...
Voices shout. "Where's Rachel?"... a groan begins.
A chorus of boos fills the room. He raises his hands.
51.
More voices.
62 INT. BACKSTAGE - NIGHT 62
Frank guides Rachel toward the stage exit. A roar from
the audience begins. "Rachel! Rachel! Rachel!" It
grows louder as they near the exit. Rachel's expression
is a combination of fear and humiliation. When they have
almost reached the exit, she stops.
RACHEL
Wait...
FRANK
Rachel... don't do it. It's not
worth it...
RACHEL
(cutting him off)
No fucking freak is gonna chase me
off stage.
She pulls away from him. Farmer starts after her, closely
followed by Spector.
63 INT. STAGE - NIGHT 63
DEVANEY
I'm afraid that...
A great gush of applause from the audience. Devaney's
befuddled. He doesn't see Rachel walking up behind him.
DEVANEY
Rachel won't be able...
Rachel stands beside him beaming. She bows. Claps back
to her fans. Devaney retreats. Rachel gestures in his
direction.
RACHEL
Bill Devaney, ladies and gentlemen,
thank you, Bill. Hey, everyone.
Hello! Isn't Billy Thomas the
greatest. He's asked me to sing
a song. I hope you don't mind.
The crowd roars its approval.
Frank nervously scans the room. Rachel smiles and moves
along the stage. MUSIC starts in the b.g. Masking
obvious fear, she starts to sing.
As she takes one hand from the microphone, her fingers
tremble. She clasps it again to hide her anxiety.
52.
ANGLE - RACHEL - SHOT FROM BEHIND
shows her alone and vulnerable, bathed in light, centerstage.
Rachel snatches a quick glance at Frank then looks back
to her silent audience.
ANGLE - FRANK
He scans the audience intensely, face to face.
63A EXT. MAYAN - BACKSTAGE DOOR - NIGHT 63A
Rachel's limo stands waiting. CAMERA PULLS BACK to
reveal a black Toyota 4 X 4 parked among the other cars.
63B INT. MAYAN - NIGHT 63B
Rachel approaches the end of her song, her voice coming
ever stronger. Spector comes up to Frank in the wings,
positioning himself combatively between Frank and his
view of Rachel.
SPECTOR
Are we having a communications problem
here?
FRANK
What?
Spector's presence is a distraction. Frank steps to one
side for a better view of Rachel. Spector moves too.
SPECTOR
Apparently, I didn't make it clear
to you how things go around here.
FRANK
You told me you were going to
tell her. And you didn't.
SPECTOR
I didn't think she could handle it.
FRANK
But she handled it fine.
Frank continues to peer past Spector's shoulder, his
vigilance undiminished. Soothed and nurtured by the
obvious admiration of her audience, Rachel's fear is
beginning to vanish. The song is taking over. Spector
changes tack, becoming confidential, "man-to-man."
53.
SPECTOR
Look. Frank, I know what you're
saying. I know you want to do
what's best for her. I understand
that. You have a job to do here.
But you have to understand that
Rachel has a job to do too. And
that's what she's doing - out
there. She's working, Frank.
That's what she does and that's
where she does it. She's hot
right now. This is the time for
her. If she doesn't get out there,
she's dead. Forget about crazy
death threats, if she doesn't
sing, she's dead anyway... Look,
handled properly, this thing could
be good for a million dollars'
worth of free publicity.
Frank grabs him by the collar and slams him up against a
wall of curtain ropes.
FRANK
One word.
SPECTOR
It could clinch her the nomination.
FRANK
One word in print about any of
this...
Spector nods, half-gasping. Frank tightens his grip.
Frank's attention is drawn by a renewed roar from the
crowd.
SPECTOR
Trouble with you is you don't
understand the sympathy vote.
64 INT. STAGE - NIGHT 64
Rachel scans the crowd, spread before her like a surreal
mural.
Camera flashbulbs explode like crazy through the glare.
The thundering adoration is like a stimulant. She darts
a look to Frank and gives him a fierce "naughty girl"
smile.
RACHEL
(turning back to
crowd)
You like that? Would like to
hear another? Billy?
54.
From the wings, Billy Thomas gives her the nod to go for
it. It seems to be alright with everyone. The band
starts playing a dance beat.
RACHEL
(on the prowl)
I think my feet are trying to
tell me something... wanna see a
new video?
The crowd explodes. They know what song is coming.
They start to move with Rachel.
RACHEL
(dancing, talking)
I want to dance...
She skitters to the other side of the stage, baiting her
fans. Her new video explodes across the video wall
behind her. The crowd surges forward.
Two security guards nervously tense up, watching the
crowd. When one fan tries to climb onstage, Frank
reaches out and unbalances him, so that the man falls
back into the audience. Another man climbs the stage on
the other side. One of the guards darts out like a
ballboy at a tennis match, pushes the fan back and
scurries to the far side to resume his vigilance. The
crowd is getting even more excited, pressing closer,
trying to touch Rachel.
The security guards move in, but Rachel gestures for
them to back off.
ANGLE - FRANK
Frank's task has suddenly become impossible. A forest of
hands and faces start to engulf Rachel. Anyone could be
the killer. Frank's eyes dart over them all, his gaze
intense, as if trying to hold them off by sheer willpower.
RACHEL'S POV
Looking offstage at Frank. His frustration is almost
intoxicating to her. She struts over the lip of the
stage. A man leaps up from audience to join her. Frank
starts forward. Rachel gestures to him to hold back,
waving him off.
65 INT. WINGS - NIGHT 65
Spector stands well out of Frank's reach, staring at Rachel
onstage. He catches Frank's attention, yelling back
defiantly.
55.
SPECTOR
Look at her, fucking great.
66 INT. ONSTAGE - NIGHT 66
Rachel dances erotically with the man -- bumping and
grinding, sinking to her knees. The crowd roars
approval.
Frank quickly sizes up the scene. He speaks into a SURV
KIT microphone in his sleeve. Across the room we see
Henry listening, pushing an earpiece to his ear. Henry
quickly scurries to an exit. Frank starts moving toward
the stage. At that moment, the lucky man Rachel's
dancing with grabs her around the waist and spins her
gleefully, like the dance partner she has been pretending
to be. One of security guards rushes forward to extricate
her. The spinning man inadvertently bumps hard
into the guard and the man loses his grip on Rachel.
She flies out of his grasp and tumbles off the front of
the stage -- into the adoring arms of a half dozen fans.
The audience goes wild. This is the kind of thing
Rachel was famous for when she was starting out. The
scene resembles a rugby scrum... with Rachel the ball.
Frank sees Rachel being passed over the heads of fans --
deeper into the audience. Her dress is ripped and torn
apart. The silver headpiece is dislodged and disappears
into the crowd.
CLOSE ON RACHEL
Fear fills her face. She's gone over the edge, literally
and figuratively. She's lost control. Tony and the
security guards are fighting to get to her, slamming
bodies out of the way. In the b.g., the video continues
on its serene, uninterrupted way.
FRANK'S POV
He spots a fire extinguisher in the wings.
BACK TO SCENE
Frank grabs it and heads to center stage. He aims the
extinguisher at the crowd between Rachel and the stage.
The chemical foam does its job, scattering fans.
Frank leaps onto the floor, kicking a wild-eyed young
blond man in the chest as he fights his way to Rachel,
taking her in his arms. Tony runs ahead of Frank, knocks
a fan off the stage and waves for Frank to follow.
56.
FRANK
Tony, not there.
TONY
I'll take care of this.
He heads for the door.
TONY
Just follow me.
He turns and heads out to the sidewalk like a bull.
67 EXT. THE MAYAN - NIGHT 67
Tony bursts out the front door and begins cutting a
swath through the crowd. Rain beats down.
TONY
Make way here. Outta the way!
A burly street regular gets a shove from Tony and comes
back hard. The crowd immediately sides with him, yells
encouragement. But Tony is the better man and sends him
sprawling. The rest of the way to the curb opens up.
At the parking area Tony discovers there is no limo and
turns in bewilderment to Rachel. But she is not there.
A couple of people laugh.
68 EXT. ALLEY - NIGHT 68
Rachel and Frank emerge from the darkness between two
garbage bins and get into the limo Henry has waiting there.
The car moves out with a SCREECH of tires, narrowly missing
Spector as he staggers out of the building.
SPECTOR
Hey! What the fuck... Farmer!
Farmer! Come back here...
The limo skids around the corner and speeds off up the
street, leaving Spector in helpless fury -- apoplectic and
speechless.
69 INT. LIMO - NIGHT 69
Frank turns and looks at Rachel. She is diminutive,
doll-like, alone in the center of the large limousine
seat. Her hands rise to her face and her body begins to
shake with sobs as she sits there alone in the tattered
remains of her dress.
Frank turns away to avoid staring at her, but he feels
57.
uncomfortable. Henry senses what is going on and
speaks softly.
HENRY
Never done that before.
FRANK
It's been a long night.
70 INT. THE MAYAN - NIGHT 70
The crowd is thinning out. A dim worklight is burning
somewhere backstage. The auditorium is a mess; the
cleaning crew has begun to work on the debris from the
riot. FOOTSTEPS APPROACH, walking, pausing, as if looking
for something.
Lying on the floor in big CLOSEUP we see a small fragment
of Rachel's dress. The FOOTSTEPS STOP by it. A hand
picks it up gently and lifts it OUT OF FRAME. We hear the
sound of a deep lingering INHALATION of breath. The feet
move on.
71 INT. MARRON HOUSE - NIGHT 71
Fletcher is asleep in his bed. Frank waits as Rachel
glances in. Then she moves away. Opening the door to
her room, she steps back, allowing him to enter ahead.
72 INT. RACHEL'S ROOM - NIGHT 72
Frank moves quickly into the room, checking the window
and French door. Rachel waits silently by the door.
All is clear. He steps back to the door. As he
approaches her she begins to tremble.
He gently reaches out and takes her in his arms. Slowly
holding her he leads her to bed, moving aside some of
Rachel's dolls, laid out on the pillows.
Her hands go automatically to her dress but they are
shaking so badly she cannot undo it. Frank gently does
it for her. She willingly allows him to undress her and
not a word is spoken between them. As she sits naked
still trembling, he pulls down the covers and guides her
gently into bed.
As he adjusts the covers she reaches up and takes hold of
his hand. He looks down, stroking her forehead like a
child's.
RACHEL
Aren't you going to ask me why I
behave like that?
58.
FRANK
I know why.
73 INT. KITCHEN - NIGHT 73
Frank sits alone at a table in the huge kitchen, carefully
cutting and eating a peach. The door at the other
end of the room slams open and Tony stalks in, soaking
wet. He has just made his way home from the MAYAN and he
is boiling. He sights on Frank and moves toward him fast.
Frank just watches until Tony is almost upon him. As
Tony reaches out to lift him by his shirt, Frank spins
low out of his seat. Tony's legs are knocked out from
under him. He lands hard on his back and finds himself
looking up at Frank, who holds him down with the chair he
was sitting on, like a lion tamer, a leg strut pressed
against Tony's throat. Frank looks down at him questioningly,
as if to ask, "Had enough?"
Tony scowls and nods. Frank lifts the chair away. Tony
stands up and faces him. Frank turns away and Tony
throws a punch at his head, barely catching him as Frank
ducks and moves in under it. He hits Tony twice and
throws him against a cabinet. Tony gets up slowly, looks
around and grabs a carving knife from a hook on the wall.
He holds it in front of him threateningly.
Frank shakes his head. He's getting irritated. He picks
up the knife he's been using on the peach and flips it in
his hand so he's holding it by the blade. With the same
fluid motion we've seen earlier, he throws it at Tony.
It sticks in the wall an inch from Tony's ear. Tony
does a slow take and then lowers his blade. Frank picks
up his dirty dish and takes it to the sink. He glances
at Tony.
FRANK
I don't want to talk about this
again.
74 EXT. MARRON ESTATE - DRIVEWAY - DAWN 74
Frank has been talking to the uniformed guard in the gate
house and now begins walking up the drive toward the mansion.
The grounds are quiet, beautiful, misty.
We see him from behind some foliage, as if he's being
covertly observed, stalked. A twig snaps and he turns
sharply. It's Rachel. She's dressed in a soft jumpsuit
and starts jogging out from behind the bushes towards him.
59.
The suit softens her appearance; she looks lovely. Her
manner, too, has altered; she is charming -- friendly and
very girlish.
RACHEL
Hey! Gotcha, didn't I?
FRANK
Hey.
RACHEL
You're probably wondering what I'm
doing.
(as Frank nods)
You didn't know I jogged, did you?
Frank shakes his head.
RACHEL
What's the matter? 'Fraid I'll
get picked off in my snazzy running
suit?
FRANK
No. I'm afraid I'll have to jog
with you.
They both smile.
RACHEL
Great. I guess I can't do it.
Rachel stops pumping, gasps for air, and for one moment,
rests a hand on Frank's arm to support herself. She
removes it quickly.
RACHEL
Will you walk with me a little?
Frank nods and they cut off across the grounds.
RACHEL
(hard for her)
I know this is kinda late, but
thank you. I'm really glad you're
here.
(she looks at him)
I'm going to try to cooperate.
FRANK
That would be good.
They walk in silence for few moments. When Rachel
finally speaks, she sounds genuinely unsure of herself,
nervous. It's very appealing. And if it's an act, she's
a terrific actress.
60.
RACHEL
Farmer... I have this problem.
This minor little problem. You
see, I'd like to go out for an
evening. Just me and a guy. You
know...
(makes a funny face)
... like a 'date.' But I can't go
out on a date because you have to
be with me every minute. I mean,
what if he invited me up to his
place afterwards? Are you going
to come, too?
(a beat)
So the only thing I can figure is
for you to take me out.
(pause)
So... that's what I was wondering
... you know. What do you think?
But only if you want to.
Frank is bemused.
RACHEL
Only if you want to... I'm not so
bad...
(looks at him)
God, this is embarrassing. I'm
gonna run up ahead there. You
decide.
She runs up the hill to the pool area, which is now above
them. He walks up after her.
75 EXT. MARRON ESTATE - BALCONY - DAY 75
Nicki is yelling from a window on the second floor of
the mansion. Fletcher peers out with her.
NICKI (O.S.)
Rachel! Sandy Harris is on the
phone!
Rachel and Frank look up.
RACHEL
Tell her she'll have to wait,
babe. I'm getting fixed up here.
AT WINDOW - CLOSE ON NICKI
She watches Frank and Rachel, her expression neutral.
She turns away. Fletcher continues to watch his mother
with Frank.
61.
76 INT. DAN-DEE CAR WASH-O-RAMA (L.A.) - WASH TUNNEL - 76
DAY
The SOUND is DEAFENING. A wet car comes out of the
tunnel of machinery. In the distance, glimpsed through
the spinning brushes, Henry talks to a couple of workers
as he waits for the limo to be cleaned.
Hands appear with a large chamois cloth, moving easily
and fast over the hood and windshield. A black in his
early twenties is finishing the exterior of the car.
A second pair of hands appear. White hands in rubber
gloves. They open the driver's door and push a vacuum
suction hose inside. The hands switch ON the car RADIO,
loud. Loud enough to hear over the din outside the car.
The hose works its way over the front seats.
D.J. (V.O.)
... And here's another biggie
from a lady very much in the news
these days, Miss Rachel Marron...
We see the owner of the hands. It is the young blond
man Frank kicked aside at the MAYAN. His name is DAN.
His face is impassive.
D.J. (V.O.)
... the hit song from the movie...
Queen Of The Night... I Have
Nothing.
The song begins and Rachel's voice fights the din. In
the back of the car, Dan's hose probes around, nosing
into all the crevices of the upholstery. It sucks up a
crumpled pre-signed photograph of Rachel from the gap
beside the rear seat. The hose is switched off and the
gloved hands retrieve the picture.
77 INT. LOCKER ROOM - WASH-A-RAMA - DAY 77
Tight, shabby facilities. Dan opens the combination
padlock to his locker and deposits the crumpled photo
inside.
As the hands remove the rubber gloves, the inside of the
locker is revealed. Pasted over every inch of the locker
are pictures of Rachel Marron. One tabloid shot of her
dancing with the word "whore" scrawled across it. Taped
to a single sheet of white paper in the center, like a
holy relic, is the torn scrap of Rachel's dress from the
MAYAN. The hands pin up the newly-acquired photo next to
it.
62.
84 INT. FBI LABORATORY - DAY 84
Special Agent Court is seated next to a white-coated
technician. The technician is leaning over one of the
neatly pasted-up death threats we have seen earlier.
With a scalpel, he lifts the word "whore" from out of the
message. He sets it on a white sheet, then brings the
blade back and scrapes at the residue of the dry glue on
the letter.
INSERT - B&W SHOT OF TOSHIRO MIFUNE WIELDING HIS SWORD,
CUTTING DOWN HIS ATTACKERS
85 EXT. KOKUSAI THEATRE - NIGHT 85
Frank and Rachel exit with a small crowd. Rachel wears a
scarf and tinted glasses. The combination goes a long
way toward disguising her. They pause at one of the display
windows. Inside is a poster for the movie, Yojimbo,
a large picture of Toshiro Mifune looking scruffy and
fierce.
RACHEL
Well, he didn't look like he
wanted to die to me.
FRANK
There's a big difference between
wanting to die and having no fear
of death.
They walk down the sidewalk.
RACHEL
And because he had no fear of
death, he was invincible?
FRANK
What do you think?
RACHEL
Well, he sure creamed 'em all in
the end.
FRANK
Yeah, it was a good movie.
They walk off down the sidewalk.
RACHEL
How many times have you seen it?
FRANK
Sixty-two.
63.
86 INT. RESTAURANT - NIGHT 86
It's a bit of a dive, but the food is good and the atmosphere
is great.
RACHEL
Your kinda place?
Frank nods.
FRANK
Yeah.
RACHEL
Your kinda music?
As she smiles:
FRANK
Absolutely.
RACHEL
You figure no one can get by you
here?
FRANK
If someone is willing to swap his
life for a kill, nothing can stop
him.
RACHEL
Great. What do I need you for?
FRANK
He might get me instead.
RACHEL
And you're ready to die for me?
FRANK
That's my job.
Rachel looks at him.
RACHEL
And you'd do it? Why?
FRANK
I can't sing.
RACHEL
Maybe there's some glory in saving
a president or something, but just
anyone...
FRANK
You mean like you? It's a matter
64.
of conditioning and discipline.
RACHEL
I don't trust discipline. At the
crucial moment I'd cop out.
FRANK
That happens.
RACHEL
But not with you, Fierce Frank.
FRANK
It happens.
A beat.
RACHEL
Have you ever liked anybody?
FRANK
What do you mean?
RACHEL
Like me -- a girl.
Frank knows what she's driving at. But he's not at all
happy to relinquish this information.
FRANK
A long time ago.
RACHEL
What happened? Do you mind if I
ask?
FRANK
Do you mind if I don't answer?
RACHEL
I don't want to pry...
Frank smiles at that.
RACHEL
(begins to laugh,
can't help herself)
She didn't die did she? You
weren't like... protecting her and
she got killed?
Frank is silent, grim. Rachel looks stricken.
RACHEL
Oh, my god! That's it, isn't it?
65.
FRANK
Nobody's perfect.
Rachel is taken aback.
RACHEL
Oh Frank, I'm sorry.
Frank laughs.
FRANK
No... Nice try though.
(pause)
It was less dramatic than that.
She didn't love me anymore. Can
you imagine such a thing?
Frank puts a smiling spin on this last; it's pretty
charming. Rachel looks at him.
RACHEL
No, not really.
A SONG comes on the JUKEBOX -- 'WHAT BECOMES OF THE BROKEN
HEARTED.' Frank smiles as Rachel begins to sing.
RACHEL
So, is this a full service date,
Frank?
Frank's wary.
RACHEL
I'm just asking you to dance.
87 INT. DANCE FLOOR - NIGHT 87
Frank and Rachel navigate a tiny dance floor. Frank is a
surprisingly good dancer and is comfortable being this
close to her.
Rachel hums softly, picking up the words to the song. As
we listen to the lyrics something clicks in her head.
RACHEL
You like this?
FRANK
Yeah.
A beat, then Rachel bursts out laughing.
FRANK
(reddening)
What?
66.
RACHEL
(trying to compose
herself)
I'm sorry... It's just that...
It's so depressing.
Now they're both laughing.
FRANK
(grinning)
It is, isn't it.
Suddenly a dish drops to the floor. Frank, still dancing,
makes a smooth quick turn that puts his body between
Rachel and the noise. His head turns to locate the source
of the noise.
RACHEL
Don't worry, I'll protect you.
They drift back into the music, Rachel singing, Frank
watching.
88 EXT. FRANK'S HOUSE - NIGHT 88
Frank's car is parked in the driveway. A light goes on
in a basement window.
89 INT. FRANK'S HOUSE - BASEMENT 89
Frank hangs back, drink in hand, as Rachel explores the
basement. Frank has fitted it out as a combination gym/
target range/weapons workshop. The place has a kind of
unfussy order about it, a simplicity.
RACHEL
(almost to herself)
It's very quiet here.
She walks to some shelves -- a random selection of
books, football and karate trophies, framed citations
and other memorabilia. She glances at a dusty framed
photo of a football team.
RACHEL
(reading)
West Virginia University Football.
God, look at you.
She looks at Frank, quizzically.
RACHEL
What'd you play?
67.
FRANK
End.
RACHEL
Were you tough?
FRANK
No. Fast.
Rachel puts down her drink and moves toward a samurai
sword that is mounted in its scabbard on the wall. She
looks at it, peering closely.
RACHEL
You some kind of a samurai, too?
Frank smiles.
RACHEL
They said you were in the Secret
Service. What made you get out?
Frank moves away and sits on a sofa against the wall.
FRANK
Money.
Rachel looks around at Frank's modest home.
RACHEL
I can see your tastes are
extravagant.
She looks at Frank and then back at the sword. She
reaches out to touch it.
RACHEL
May I?
Frank nods. Rachel takes it off its mount carefully,
unhooks the scabbard and begins to slide it off.
FRANK
Watch yourself.
Rachel slides the scabbard off. The naked blade is
breathtaking. Rachel holds the sword out before her.
She walks toward Frank, then stops and looks over the
blade at him.
RACHEL
You're a hard one to figure, Frank
Farmer.
He stares at her. She steps closer, so the blade is only
about a foot from his face.
68.
RACHEL
It seems to me a bodyguard must
know little peace.
Frank stands up so that the point of the sword is only
about an inch from his chest. He reaches out over the
blade to Rachel's neck and unties the silk scarf she is
wearing there. One hand draws the scarf away. The other
hand lingers for a moment on her neck, then lifts away.
FRANK
Watch this.
He has raised the scarf over his head, in the space
between them. With two hands he spreads it out and then
lets it go. Slowly, billowing, the scarf floats down
over the blade and is cut in two. These two pieces float
slowly to the floor.
Frank takes Rachel's wrist and moves the sword away to
the side. They are both holding it as Rachel presses her
body against Frank's and they begin to kiss.
90 INT. FRANK'S HOUSE - BEDROOM - NIGHT 90
Their lovemaking is INTERCUT with SLOW MOTION black and
white images of Samurai warriors from the movie,
Yojimbo.
91 INT. FRANK'S HOUSE - BEDROOM - LATER 91
They lie nude under a sheet.
RACHEL
I've never been this safe before.
Frank smiles.
RACHEL
No one could get by you.
FRANK
Right now it might not be so hard.
Rachel laughs, kisses him and buries her head down into
his shoulder. Frank stares across the bed at the samurai
sword lying on the floor. Some of Rachel's clothing is
draped in a heap across it. The torn pieces of her scarf
lie nearby. HOLD ON Frank's look.
SHOCK CUT TO:
92 INT. FRANK'S BEDROOM - NEXT MORNING 92
The roller-blind is raised with a sharp, snapping sound.
Frank is moving around the room, getting dressed. Rachel
69.
is still in the bed behind him, woken by the noise of his
activity.
RACHEL
What? What is it? What are you
doing?
Frank keeps moving, looking for his shoes.
RACHEL
Frank?
FRANK
Rachel, I don't want to get
confused about what I'm doing
here.
RACHEL
I'm not confused.
Frank finds his shoes.
FRANK
You pay me to protect you, that's
what I do.
Rachel sits up.
RACHEL
What? Have I done something
wrong?
FRANK
No, nothing.
RACHEL
Then what is it?
She lifts the sheet seductively and looks over the top
of it.
RACHEL
Do you want me to beg?
FRANK
No, I want you to do without.
She stops.
RACHEL
What's going on, Frank?
FRANK
I want to keep it straight in my
head what job I'm doing.
70.
RACHEL
And what is that exactly? Making
me feel like shit?
FRANK
No, I'm sorry. This is my fault.
RACHEL
Don't apologize for godsake. Just
tell me what I did. I'm a big
girl.
FRANK
You didn't do anything. It was me.
I involved myself with my client.
Rachel picks up on the word.
RACHEL
Your "client"?

<<prev next>>