THE BODYGUARD

FRANK
I made a mistake.
RACHEL
What mistake?... You don't find me
attractive anymore.
FRANK
Christ! I've told you why. I
can't protect you like this.
RACHEL
And what? That's it for me?
FRANK
Yeah...
RACHEL
I don't believe it.
He automatically checks the gun as he slips it into the
holster.
FRANK
You can live with that or you can
fire me.
RACHEL
But I can't fuck you.
Frank turns and looks at her. This is hard for him, too.
RACHEL
I don't believe this...
I'm asking you?... Let me tell
you...
71.
She stops suddenly and, with a roar of combined frustration,
humiliation and rage, she lurches from the bed
in search of her clothes. Frank shuts his eyes in mortification
and pain.
93 EXT. MARRON ESTATE - POOLSIDE - EARLY MORNING 93
A nanny sits in the early morning mist, embroidering.
Frank is kneeling with Fletcher beside the pool. He's
putting new batteries into Fletcher's boat. Fletcher
watches him as he tears off the wrapping from the
batteries, much preoccupied.
FLETCHER
(watching him)
She's real mad at you, isn't she?
Frank stops what he's doing and just looks blankly at the
batteries in his hands. There's a beat of silence.
FLETCHER
She told me she doesn't understand
why you're so shitty to her...
Frank's shoulders droop and he lets out an imperceptible
sigh. He gently resumes fitting the batteries, still
not looking at Fletcher. In the quiet of early morning,
it's almost like a confessional.
FRANK
I've spent a lot of time learning
not to react to things like other
people do. It's my job. But it
doesn't always work, Fletcher...
it doesn't always work.
FLETCHER
I don't think I understand.
FRANK
(looks at him)
I'm an old man compared to you,
pal, and I don't understand either.
And I'm starting to get the
feeling I never will.
There's a crunch of footsteps behind him. He looks
around.
With a big flourish, a copy of Daily Variety is put down
in front of us, front page upwards.
NICKI (O.S.)
Ta Da!
72.
Frank takes in that it's Nicki then glances at Variety,
lying on the concrete beside him. Splashed across the
top, the headlines announce the day's news of the
Academy Award nominations. Rachel's name is among the
Best Actress nominees. The Hollywood Reporter follows.
Frank picks up Variety and stares at it. Nicki stands
beside him with the morning's mail under her arm.
NICKI
(looking at him)
Thought you'd like to know.
Everyone said she was a sure thing.
Of course, you know all about that.
She raises an eyebrow, gives him a look. Frank looks
steadily back at her. She drops a small pile of mail
beside the magazines... several letters and a small
packet. She's embarrassed by Frank's gaze.
NICKI
I'm sorry. That was out of line.
It's none of my business... Here's
today's question marks for you.
She turns and walks briskly back to the house. Frank
watches her go, then looks slowly down to the pile.
From across the pool, Fletcher watches silently, then
pushes his boat out into the deep water.
94 INT. SQUIRREL HILL PRODUCTIONS - JANITOR'S ROOM - DAY 94
Frank is investigating the small packet, with a surgeon's
precision, checking it with a stethoscope and a metal
detector, sniffing at it.
It has been addressed in the normal way, except that
Rachel's name has been cut out of a magazine and pasted
above the address. He begins carefully slicing away the
wrapping. Inside is a cardboard box. The contents are
still hidden by packing paper. He picks it away with
tweezers. Suddenly there is a LOUD BUZZING from the box
and movement in the paper. Frank drops the box into a
bed of sand in a sink surrounded by sandbags.
The movement slows and stops. Frank extracts the item --
it is a wind-up mechanical beaver with a hand-painted
sign hung around its neck:
WE LOVE YOU, RACHEL
YOUR FANS IN BEAVER, PA.
SALLY AND KATE.
The beaver's TEETH CLICK in Frank's hand.
We see Frank's face. This may just have taken years off
his life. He holds his hand out straight, palm downwards,
73.
and looks at it. No tremor. Just checking.
Spector's voice suddenly shouts from the next door office.
SPECTOR (O.S.)
Farmer! Get in here!
95 INT. SQUIRREL HILL PRODUCTIONS - RACHEL'S OFFICE - DAY 95
The office is filled with congratulatory balloons and
flowers heralding the morning's news. Spector's secretary
is taking congratulatory phone messages at a desk in the
b.g. Two assistants are struggling in through the door
with a large basketed floral arrangement.
Spector confronts Frank across his desk.
SPECTOR
Put together a list of your
expenses. Your total billing...
Let me have it in one hour and
I'll see that a check is cut.
FRANK
Don't you ever say what's on your
mind?
Spector cannot believe he's being so addressed --
especially in front the staff. The assistants stop in
their tracks and look.
SPECTOR
(almost shouts)
What's on my mind is that you're
fired, Frank. She missed all her
interviews yesterday because of
your little date. Do you realize
she stood up Barbara Walters?
First you fuck up her career...
Behind Spector, out of his line of sight, Rachel and
Devaney appear in the doorway with more cards. They
also stop and listen.
SPECTOR
... and now you're fucking with
her head.
FRANK
That's between us.
SPECTOR
You think so? You forget who signs
your check. You don't understand
the role I play around here.
74.
FRANK
No. I understand.
Spector stiffens, then decides not to take this one on.
SPECTOR
Get your shit together and be out
of here by noon.
DEVANEY
Frank stays.
Spector looks round, sees that Devaney and Rachel have
been listening. Rachel is silent. With a curt nod of
his head, Spector gestures to the assistants to leave the
room. Devaney weighs in.
DEVANEY
With this high a profile, Rachel
needs protection now more than
ever. If he goes, you can forget
Miami...
SPECTOR
She's signed the fucking contract,
Bill. You want me to read it to
you?
Rachel is watching them both.
DEVANEY
Fuck the contract. If he goes,
she's not singing a note. It's
too dangerous.
SPECTOR
Oh. 'Fuck the contract.' Great.
Why don't you let Rachel speak for
herself? I think she has some say
in this.
RACHEL
(flatly)
Frank stays.
Spector considers her for a beat, then looks at the others.
The secretary interrupts from the back of the office.
SECRETARY (O.S.)
Mr. Schiller calling on line one...
Spector ignores her, still holding his look at Devaney,
Rachel and Frank.
SPECTOR
Well, I guess this is democracy in
action.
75.
Rachel nods. Spector, turning to take the call, flashes
her a "little boy" look.
SPECTOR
I gave in. That's not easy for
me. Don't I get a hug?
Rachel is stone-faced. Spector covers by picking up the
phone.
SPECTOR
(into phone)
Yeah?... Sure, put him on... Ben
how are you?... uh huh...
Frank and Rachel look at each other in silence.
SPECTOR
...The Ambassador? What the hell
are you trying to pull, Ben?
Rachel always gets the
Presidential... I don't care what
you thought...
Devaney leans to Frank as Spector's conversation continues
in the b.g.
DEVANEY
Do you know the Fontainebleau
Hotel in Miami Beach?
Frank nods.
DEVANEY
How does the Ambassador Suite
compare to the Presidential for
us?
Frank thinks only for a moment.
FRANK
It's on the twentieth floor in the
south wing. There's a service
elevator right there. Mainly
ocean windows. Should be no
problem.
SPECTOR
(into phone)
... I'm aware of that, Ben, but
let me just remind you people
that you invited us...
Frank turns toward the door.
76.
RACHEL
(to Frank)
Hang around, Farmer. We might
need your vaunted expertise.
She reaches forward and hits a button on Spector's desk,
throwing the call onto a speaker.
RACHEL
(sweetly)
Hello, Ben honey.
SCHILLER (V.O.)
Rachel, congratulations, you must
be thrilled at the...
RACHEL
(across him)
Ben. I hear you've got me in the
annex next to the kitchen.
96 EXT. FONTAINEBLEAU HOTEL (MIAMI BEACH) - HELICOPTER SHOT 96
- DAY
We COME STREAKING IN OVER the ocean TOWARD the towering
white Fontainebleau.
ON the SOUNDTRACK, we hear JOHN TESH'S VOICE filling the
viewers in on the latest Hollywood dirt.
JOHN TESH (V.O.)
...It's off to Sun City today for
Best Actress nominee Rachel Marron.
Rachel's giving two AIDS charity
concerts this week at Miami's
Fontainebleau Hotel. A thousand a
plate no less. And rumor has it
that the lovely lady has unseated
the governor of Florida himself.
Seems there was a showdown on
who'll get to lounge in that big
Fontainebleau penthouse tonight.
As we CIRCLE the top floor, we see a tiny figure on the
balcony.
JOHN TESH (V.O.)
Well, sleep tight in the
Presidential Suite, Rachel. Who
says a nomination isn't as good as
winning...
97 EXT. PRESIDENTIAL SUITE - BALCONY - DAY 97
Frank looks up at the disappearing helicopter then down
77.
over the edge and around the corner. He leans slightly
against the wrought iron railing. It sways precariously.
Frank catches himself.
FRANK
Thuringer.
Frank kneels and inspects the fixture that anchors it to
the cement balcony: the cement crumbles around it, a
weld joint is broken on the side. THURINGER, the hotel
security chief, joins Frank on the balcony. Frank shakes
the railing.
THURINGER
God damn. I'll get someone right
on it.
98 INT. PRESIDENTIAL SUITE - DAY 98
Frank walks quickly across the living room of the lavish
suite. Two uniformed security guards are making a sweep
of the room with POLICE DOGS. Frank checks the drawer of
a side table and then seals it with a peel-off security
tape. Thuringer is waiting near the entrance hall.
Frank nods to him.
FRANK
Okay. Let's go.
99 INT. HALLWAY - 15TH FLOOR - DAY 99
This is a semi-private corridor; several hotel employees
are steam-cleaning the carpet. Frank looks at them, then
Thuringer.
THURINGER
It's okay, they've been cleared.
He shows his clipboard to Frank. As the two men walk
along the corridor, the guest elevator opens and a
twelve-year-old boy in a bathing suit (MARK KATZ) steps
out, accompanied by his nanny. In the background, hotel
security men are checking fire-extinguishers and closets.
THURINGER
(to Frank)
The Katzes of St. Louis. Very
prominent. Come every year. An
elderly couple and three
grandchildren. A nurse and a maid.
They pass the little boy as he reaches the door of the
Katz suite with his nanny.
78.
THURINGER
Hi, Mark.
MARK
Hi.
Frank smiles and nods to the nanny.
THURINGER
(to Frank)
Theirs is the only suite on the
floor.
The two men reach the service elevator and the emergency
exit door at the end of the hall. Frank opens the stairway
door and goes inside. Thuringer follows.
THURINGER
As you asked, the rooms below have
been kept vacant.
100 INT. STAIRWAY - DAY 100
The doorway closes behind the two men. Frank tries it;
it's locked. They continue down the stairs.
105 INT. KITCHEN - DAY 105
Frank and Thuringer walk into and along the edge of the
busy kitchen.
109 INT. OFFSTAGE AREA - DAY 109
Frank walks ahead of Thuringer. He looks around and
pauses at the edge of the stage. Then he steps out on a
stage. A piano tuner is at work in the corner.
110 INT. ON STAGE - DAY 110
FRANK'S POV -
as he looks out at the mammoth room.
Frank stands center stage and looks around. The nakedess
of this spot gets to him. He shakes his head and
looks at Thuringer. Thuringer smiles.
FRANK
What a silly job this is.
79.
111 INT. FONTAINEBLEAU HOTEL - LOWER LOBBY - DAY 111
Behind the glass doors that lead to the pool, bright
quartz lights clock on. A camera crew stands waiting.
Someone mimes a "we're rolling" sign with his hands.
Inside Rachel waits with Spector and BEN SCHILLER, the
tough, fat fellow who owns the place. Frank is at her
elbow.
SPECTOR
O.K. Rachel. It's showtime!
They're rolling. Let's go.
FRANK
Is this really necessary?
SPECTOR
Yes. It is.
RACHEL
Quit bitching, Farmer. This is
the part you do get paid for.
Rachel sweeps out the door. The camera crew hurries to
keep up with her.
112 EXT. POOL AREA - DAY 112
This place is crowded with hundreds of guests basking on
chaise lounges. A sea of sun-baked faces virtually as
far as the eye can see. The sight of the crowd and the
presence of the news crew seems to push Rachel to a
whole new adrenaline level.
Rachel walks among them, moving swiftly, evaluating the
bodies displayed before her in words and expressions,
playing to the camera.
RACHEL
Oh my God. Look what they're
wearing. Mother, hide your eyes...
Heads turn to look.
RACHEL
I couldn't wear that suit... Honey,
you're naked... Of course, if I
had a body like that...
There is a murmur of recognition from some of the guests.
She pauses to shake a hand, and now all the guests
throughout the pool area are aware that Rachel Marron is
among them.
People stand on chairs, scramble for pens and paper, run
80.
to get a closer look. Lounges collapse, drink GLASSES are
BROKEN, flower tubs are trampled. A lot of pushing and
shoving starts - too much for the video crew, who abandon
the filming attempt.
SPECTOR
Great, babe. They got what they
needed. Let's get back inside.
Frank increases his pace to keep by Rachel's side, gently
easing a path for her. Schiller scurries behind in
Frank's wake.
Rachel turns suddenly as a tall good-looking lifeguard
appears in the throng. She eyes him appreciatively.
RACHEL
(to lifeguard)
You look like a man of good taste
to me. Come to my party tonight.
(to Schiller)
Ben, make sure this boy gets to
my party.
Schiller nods. Rachel glances at Frank, making sure he
gets the point, and then she's off again. The throng
gets tighter. Frank's having to work harder, steering
her towards the door back into the hotel. The familiar
chant starts up: "Rachel, Rachel." It's starting to
resemble the frenzy of the opening scene. This time,
amid the thrusting hands and clamoring faces, a few
bewildered elderly guests look dazed as they are shoved
forward. A child starts crying, lost in the mess of legs
and Bermuda shorts. A distraught mother tries to reach
him. Someone is jostled into the pool as the crowd
surges again.
Amid the chaos, whistles and scattered applause. Rachel
drinks it all in.
RACHEL
(over her shoulder)
Thank you. Thank you. Come
tonight and give till it hurts.
With a final surge, Frank makes it to the door with his
party. The door closes shut behind them. A mass of
distorted faces pushes onto the glass. The party walks
on briskly.
RACHEL
(to Spector)
I'm beginning to wonder about your
judgement, Sy. Why do I have to
keep paying my dues if I've
already arrived?
81.
SPECTOR
(very fast)
Kick me, beat me... whatever makes
you feel good. But let's not
pretend you don't like it. We're
too close for that. Whipping
people into a frenzy is why you
got into it in the first place.
Rachel's eyes lock with Spector's -- there's a real connection
and understanding here that she spends a lot of time
denying. Frank sees it as clearly as Spector, whose tone
becomes almost soothing --
SPECTOR
And it's nothing to be ashamed of,
either, not for a second. It's a
gift... and only a handful are
given it. Many call but few are
answered.
SPECTOR (CONT'D)
Don't fool with the blessing,
Rachel. The magic is sustained
through its use.
RACHEL
Now you're going to tell me about
magic? Give it a rest will ya...
SPECTOR
I'm done. Not another word...
(a crooked smile)
... I know you like to be reminded
sometimes.
Rachel looks away. It's true. He's good at his job.
113 INT. GRAND CENTRAL ROOM - ON STAGE - NIGHT 113
In the spotlight, all alone, Rachel Marron works her magic.
She sings, as it was meant to be sung, "I Have Nothing."
One person does not look at Rachel. He stands in a
corner in front of the stage easily in the shadows. His
eyes continually scanning. Picking up every movement.
All alone. Watching.
113A EXT. FONTAINEBLEAU HOTEL - NIGHT 113A
Fireworks explode over the water.
82.
114 INT. LIVING ROOM - NIGHT 114
In the living room, the first night party is in full
swing. Crowded. Smoky. Noisy. Fireworks burst outside
the windows. People clap.
A mixed bag of upscale partygoers: women in party
dresses, men in open shirts, etc. A black pianist is
playing. Two bars at either end of the room. Waiters
work the room with platters of canapes.
115 INT. RACHEL'S SUITE - OUTSIDE MASTER BEDROOM - NIGHT 115
Tony sits in a chair watching TV, a drink in his hand,
oblivious to all. The lifeguard shuts Rachel's door behind
him and makes his way down to the party. He pauses
at the head of the stairs, checking out the party, and
grabs a glass of champagne from a passing waiter. Frank
catches the movement; the two men briefly lock eyes. The
lifeguard responds with a knowing smile.
116 EXT. HALLWAY OUTSIDE SUITE - NIGHT 116
Thuringer has set up a checkpoint through which all
guests are passing.
As they get off the elevator, they walk up to a desk
manned by one of Thuringer's uniformed guards. When
their names have been checked off a master list, they
walk past another guard wielding a metal detector. No
one likes it, but they all do it.
Most of the local TV stations have sent camera crews. The
handheld cameras move among the guests, their bright
lights flaring. FLASHBULBS POP. It's a local media
event.
Frank squints as a quartz light shines straight in his
face.
A tall, fit, athletic-looking man raises his arms; is
cleared by the metal detector. He is GREG PORTMAN.
117 INT. LIVING ROOM - NIGHT 117
Portman makes his way through the crowd to the bar. His
eyes scan the suite. His gaze settles on Frank checking
out the people who filter in. Portman appears next to
Frank.
PORTMAN
Hello, Farmer.
83.
FRANK
Portman.
PORTMAN
Buy you a drink?
FRANK
Orange juice. It's been awhile.
You on the job?
PORTMAN
(nods)
Technically I'm off duty, but the
Governor may show up here later,
so I thought I'd give it a light
check.
(smiles)
Someone else is covering him right
now.
FRANK
How old is she?
PORTMAN
Maybe eighteen. You working?
Rachel makes her entrance, and poses self-mocking on the
landing above the crowd, accepting applause. She has
succeeded in under-dressing everyone in the room. She
is a star. Frank nods in her direction... that's his
client.
PORTMAN
(impressed)
No kidding? I'd call that a step
up from the President. Probably
sings better too.
RACHEL
Thank you. Thank you. You're
so right.
SCATTERED LAUGHS.
RACHEL
I want everyone to have a good
time and drink as much of Ben
Schiller's liquor as you like.
Rachel descends into the crowd, laughing and blowing
kisses.
PORTMAN
Handful.
Frank's look says if you only knew the half of it.
84.
PORTMAN
I heard you had to take someone
out in New York.
Frank remembers.
PORTMAN
I lost track of you after the
Reagan thing.
FRANK
Yeah.
PORTMAN
It wasn't your fault, Farmer.
You weren't even there.
A pause.
PORTMAN
I got a call a couple of months
ago. That guy you were covering
in New York. He said you'd
recommended me.
FRANK
Surprised?
PORTMAN
A little.
FRANK
(smiles)
I never doubted your skills.
PORTMAN
(laughs, goodnatured)
No. Only my qualifications for
the priesthood. You were always
clear about that. Anyway, I
appreciate it. I had to turn it
down but I appreciate it.
Portman notices Rachel looking at him, as she makes her
way to them. Rachel takes Frank's orange juice and sips.
Makes a very funny face.
RACHEL
That's orange juice!
Rachel gives Portman an approving once-over.
RACHEL
Who are you?
85.
PORTMAN
Greg Portman.
RACHEL
I take it you've met my bodyguard?
PORTMAN
We used to work together.
RACHEL
(suddenly more
interested)
Ah... Well, well, well. And what
do you do now?
PORTMAN
Same thing as Farmer.
RACHEL
(looking between
them)
Two samurai, eh?
Frank and Portman eye each other.
RACHEL
(to Portman)
Are you working now?
PORTMAN
Not right now.
RACHEL
Good.
(she takes his arm)
'cause I'm the only one in the
room who needs protection.
She gives Frank a look and leads Portman into the crowd.
118 EXT. LIVING ROOM BALCONY - LATER 118
Rachel's taking a breather on the balcony, drinking champagne,
talking to Portman and another couple. Everybody's
high and happy. Conversation bubbles.
FRANK'S POV
Rachel leans into Portman; heads together, they whisper
intimately. Rachel laughs, then for a brief moment, turns
her head to look directly at Frank. Her look is petulant,
defiant. Portman does not see this.
119 INT. LIVING ROOM - NIGHT 119
86.
Tony helps himself to a handful of canapes, he turns at
the sound of a COMMOTION out on the balcony. Someone's
horsing around, spraying champagne from a bottle over
everyone. A woman screams. Frank bolts for the balcony.
121 EXT. ON BALCONY - NIGHT 121
Rachel and Portman are poised precariously halfway over
the railing. Frank's hand shoots out, grabs Rachel's
wrist and tugs at the pair of them.
Portman regains his balance first and pulls Rachel back
from the edge.
FRANK
What happened!
PORTMAN
Somebody tripped. It's okay.
RACHEL
(looking at Portman)
Thank God I had a bodyguard here.
She grasps the railing and looks over.
RACHEL'S POV
Staring down twenty stories of distance between her and the
pool area.
Way, way below her, her champagne GLASS hits the tile
with a MUFFLED SHATTERING sound.
RACHEL
It's a long way down, Frank.
(to Portman)
You saved my life.
Frank eyes the newly-welded anchor fixture. It has
held.
Rachel takes Portman by the arm. The front of her dress
is stained with champagne.
RACHEL
Maybe someone will keep an eye
on me while I change.
She leads Portman past Frank and up the stairs toward
her bedroom. Frank and Portman lock eyes. Portman
shrugs; he feels badly for Frank.
122 INT. LIVING ROOM - NIGHT 122
87.
Frank walks to the bar taking a drink from his glass. He
looks in the mirror behind the bar and sees Rachel and
Portman in the hall outside her bedroom. She turns her
head to look directly at Frank's reflected face. Assured
that Frank is watching, she takes Portman's hand and leads
him into her room.
Frank sets his glass down and the bartender refills it
with orange juice. A stunning WOMAN IN GREEN glides down
the bar and stands very close to Frank.
WOMAN IN GREEN
I've been watching you all night
from across the room.
FRANK
Why don't you go back there and
keep watching?
Frank looks at Rachel's doorway, sipping his juice.
123 INT. RACHEL'S BEDROOM - NIGHT 123
Rachel and Portman are kissing, with some heat.
Portman's hands are starting to explore her body.
124 INT. LIVING ROOM - NIGHT 124
Frank still looks at Rachel's doorway, thinking. After
a moment, he walks across the room to the sliding doors
that lead to the balcony outside.
125 EXT. BALCONY - NIGHT 125
Frank steps outside. No one there. The moonlight reflects
off the ocean. The SURF sounds a STEADY BEAT.
It is peaceful and quiet. A relief.
On the Katz's balcony, forty feet away, little Mark Katz
is leaning against the railing, staring at Rachel's
suite. Frank smiles at him.
FRANK
(softly)
Go to sleep.
Frank looks out at the ocean. After a pause, in the
background, Mark slips inside the Katz suite.
126 INT. RACHEL'S BEDROOM - NIGHT 126
Rachel and Portman are still locked in the clinch.
Realizing what she's doing, Rachel suddenly pulls back,
88.
catching herself.
RACHEL
I'm not doing this.
PORTMAN
(still holding her)
I think you are.
She steps out of his embrace.
RACHEL
I said I was grateful. Thank you
and good night.
She looks to the door that leads back to the party. The
SOUNDS of CELEBRATION CONTINUE outside. She starts to
cross to the door.
RACHEL
(cool)
Please go now.
Portman moves toward her as she opens the door, reaching
for her arm.
Then he sees, through the doorway, Tony standing in the
hall talking to a woman. Tony looks up at the sound of
the door and sees them both. Rachel slips quickly out
of Portman's grip.
RACHEL
Mr. Portman was just leaving us,
Tony.
Portman hesitates, then smiles at Rachel and Tony and,
with a quick peck on Rachel's cheek, slips past them back
to the party.
Rachel briefly scans the party crowd over Tony's shoulder
but she doesn't see Frank. The door closes, leaving her
alone in the room again. She reaches for a bottle of
Scotch and raises it to her mouth, drinking straight
from the bottle.
127 EXT. BALCONY - NIGHT 127
Frank looks out at the ocean.
ECHOING on the soundtrack, we hear the song 'WHAT BECOMES
OF THE BROKEN HEARTED' that Rachel and Frank danced to.
It sounds slow and sweet and a long way away.
Frank stares out at the ocean. Totally divorced from
everything in the suite behind him, in the world around
him. There is only the moon and the ocean. For this
89.
one moment, his guard is down.
127A INT. PRESIDENTIAL SUITE - LIVING ROOM - DAY 127A
A chambermaid is Hoovering the floor. Rachel steps out
of her bedroom. She looks terrible. Hungover, she is
wearing sunglasses and a loose smock. It is noon of the
following day.
130 INT. PRESIDENTIAL SUITE - KITCHEN - DAY 130
Frank is sitting at the kitchen table eating a sandwich.
Behind him, in the dining room, a Cuban maid has set a
place with breakfast. She is pouring orange juice as
Rachel walks in.
Rachel sits down at the table as though the walk in had
been a terrible effort. She looks at the breakfast with
distaste and picks up the coffee. Frank continues to eat.
Rachel looks at him.
RACHEL
(nasty)
What the hell are you looking at?
(pause)
You probably never had a heavy
night in your whole, goddamn
disciplined life.
Frank looks at her, continues to eat.
RACHEL
You know, Farmer, you're a selfrighteous
son-of-a-bitch.
Frank has to smile at this, which makes Rachel even
angrier.
RACHEL
Don't laugh at me, goddamit! And
don't you dare judge me.
FRANK
Give me a break, will ya? I
didn't tell you to fuck everybody
in the hotel!
132 INT. CLEANING SUPPLY WAREHOUSE - DAY 132
Special Agents Court and Minella are watching the general
manager of the supply house as he pries the top off a huge
canister marked "INDUSTRIAL DETERGENT." The general
manager lifts the lid to reveal white powder.
90.
He talks animatedly and gestures around the warehouse.
Court listens, nodding. Minella spoons some of the
powder into a plastic bag and seals it. OVER this we
hear Court's voice, filtered as on a telephone line.
COURT (V.O.)
It matches the traces in the glue,
Frank. We're getting to him.
We're gonna nail this fucker.
133 INT. FONTAINEBLEAU - LOBBY - DAY 133
Frank is on the courtesy phone.
FRANK
Yeah, well, don't take too long,
Ray.
COURT (V.O.)
Hey, Frank. It's good money,
isn't it?
Frank hangs up.
134 INT. 20TH FLOOR HALLWAY - OUTSIDE PRESIDENTIAL SUITE - 134
DAY
The elevator door opens and Frank steps out. He
walks toward the entrance to the suite and is
immediately alarmed by what he sees: there is no
uniformed guard by the front door. He unlocks the
door and goes inside.
135 INT. PRESIDENTIAL SUITE - ENTRANCE - DAY 135
Frank comes in and looks around quickly.
FRANK'S POV - LIVING ROOM
Looking over living room, hallways, balcony. No one in
sight. Nothing disturbed.
Devaney comes out of Rachel's bedroom, a panicked look
on his face.
BACK TO SCENE
They face each other across the gulf of the living
room.
FRANK
Where is she? Where's Tony?
91.
DEVANEY
I don't know. I thought you were
with her.
138 INT. SUITE - LIVING ROOM - DAY 138
Frank is at the telephone; he punches out three
numbers.
FRANK
(into phone)
Thuringer, this is Farmer. Where's
your man on the door to the suite?
(listens)
Well get someone up here.
Frank hangs up the phone, looks at Devaney.
FRANK
He doesn't know.
They look at each other, worried. Frank walks out onto
the balcony, looks round and down, comes back in. He
heads for the front door.
DEVANEY
Where are you going?
139 INT. SUITE - ENTRANCE HALL - DAY 139
Frank is almost at the door. We hear LAUGHTER. A key
turns in the lock. Rachel and Tony come through the
door in high spirits, their arms full of shopping bags
and packages.
Frank stops dead and watches. Rachel glances at him and
goes into the living room. Tony looks at him meaningfully
and follows. Frank reflects for a moment, then
pulls the front door closed, oh so gently.
140 INT. SUITE - LIVING ROOM - DAY 140
Rachel drops packages around and goes to the bar, pours
herself a drink. Tony takes some packages to Rachel's
bedroom.
RACHEL
Hello, Devaney.
DEVANEY
Rachel, where the hell have you
been?
92.
RACHEL
Tony and I went over to Bal
Harbour. Did a little shopping.
Tony comes back, a smile playing across his lips. Frank
watches near the entrance.
DEVANEY
We were worried.
(looks at Frank,
talks to Rachel)
You know you're not supposed to do
that.
Frank and Rachel look at each other.
RACHEL
Farmer, you work here! Do you
understand that? You work for me.
DEVANEY
Rachel.
Frank turns and heads for the door. Devaney looks at
him anxiously.
DEVANEY
Farmer, where are you going?
FRANK
I'm gonna check the route. As
usual.
He opens the front door. A uniformed guard is standing
outside. Frank goes out and closes the door.
RACHEL
Did Fletcher call?
Devaney, staring after Frank, shakes his head "no."
141 INT. SERVICE ELEVATOR - DAY 141
Frank's face shows the tension and the anger. The elevator
descends.
141A INT. KITCHEN - DAY 141A
Frank walks along the edge of the kitchen, looks over
the workers. A kitchen worker is in Frank's path. He
looks up, sees Frank's face and scurries out of his way.
142 INT. BASEMENT - SERVICE CORRIDOR - DAY 142
93.
Frank walks along checking the corridor. At each doorway,
he stops, looks inside.
One room is dark. He flicks on the light. Near the door
is a pile of wooden crates, placed unnaturally out from
the wall. Frank walks over and looks inside. They are
discarded vegetable crates. Frank goes back to the door
and yells toward the kitchen.
FRANK
Gomez! Louis Gomez!
He waits impatiently. No one comes. Two quick steps and
he is back at the CRATES, throwing them violently into
the corner where they CLATTER loudly to the floor. Frank
walks on along the corridor.
He stops, noticing something around the side.
He investigates.
An ENORMOUS CUBAN is sitting on some boxes in the
shadows. He doesn't bat an eye when he sees Frank.
FRANK
What are you doing?
ENORMOUS CUBAN
Is none of you fuckin' business.
FRANK
Move it.
The Enormous Cuban gets slowly up from the boxes. He
towers over Frank.
ENORMOUS CUBAN
Shove it up you ass, motherfucker.
Frank has had enough for one afternoon. He hits the
Cuban low and hard. The man crumples forward, hurt,
but manages to enfold Frank in an awesome bear hug. His
weight carries them backward in Frank's direction.
The Cuban continues moving in that direction, but Frank
is no longer in his grasp. Instead, incredibly, Frank
seems to have passed through the man's body and flicked
him into the corner of the stairwell.
The Cuban hits the wall hard. Jarred but not lost, he
comes up and out wielding a long mop as if it were a
baseball bat.
Frank steps in and under the man's long arms and hits him
four times around the chest and jaw. Each of Frank's
hands lands twice, their movement is barely visible.
The solid THUDDING tells the story. Frank strikes both
94.
the Cuban's ears simultaneously with cupped hands.
The Cuban goes down, stunned. Frank, his expression
fierce, is upon him immediately. Frank's arms entwine
the Cuban's and he begins to lift him roughly. At the
end of the corridor, a woman screams.
CLEANING WOMAN (O.S.)
Stop! Please. Don't hurt him.
Please stop!
Frank looks up. A hotel CLEANING WOMAN, carrying her
purse, is running towards them, tears already on her
face.
CLEANING WOMAN
Don't hurt my husband, mister. He
not up to nothing.
Frank lets the Cuban down gently and stands up. Disgusted
with himself. Breathing hard, he leans back
against the wall. The Cleaning Woman falls to her knees
and hugs her husband protectively.
FRANK
I'm sorry.
Frank steps away, rubs a hand through his hair, tries to
collect himself.
He's standing amidst dumpsters and discarded food boxes.
He looks up and sees a marquee.
RACHEL MARRON. TONITE. BENEFIT CONCERT. 8 P.M.
145A INT. RACHEL'S BEDROOM - NIGHT 145A
Rachel is seated at her dressing table applying her
makeup for the evening's performance. The telephone
RINGS as she begins to work on her hair.
RACHEL
Fletcher?
No response.
RACHEL
Baby, is that you? It's mommy,
honey.
DAN (V.O.)
(eerily distorted)
Guess again, whore! Fuck you and
fuck Miami. I'm coming for you.
I know where you are and I'm
coming for you...
95.
Rachel is paralyzed by fear, unable to hang up the phone.
146 INT. PRESIDENTIAL SUITE - LIVING ROOM - NIGHT 146
Frank comes in the front door. He's had it. Devaney,
who has been sitting alone in the living room, stubs out
a cigarette and stands to meet him. Frank doesn't pause.
FRANK
I'm through. I'll get you back to
L.A. and that's it. The guy with
Fletcher can cover you till you get
a replacement.
DEVANEY
She got another call, while you
were downstairs and she answered it
herself. It was him, Frank. Same
guy.
FRANK
(moving toward
balcony)
I don't care.
DEVANEY
Farmer, it really shook her up.
She thought it was going to be
Fletcher calling her from L.A. I
think she'll be reasonable now.
FRANK
(across him)
Save it, Devaney. The people who
hire me don't have to be convinced
to save their own lives.
Frank reaches the sliding door that leads to the balcony.
FRANK
Call me when she's ready to go
down.
DEVANEY
Farmer --
Frank goes out on the balcony and slides the door closed
behind him.
147 EXT. BALCONY - NIGHT 147
Frank looks out at the ocean. The breeze washes over his
face. A huge brightly-lit yacht is sailing by, close to
shore. Frank looks at it reflectively.
96.
He senses another presence and looks to his right.
Rachel sits huddled in a balcony chair. The bright moonlight
illuminates her as she looks out to sea. She is
wearing one of her spectacular show gowns, her hair has
been brushed, and her stage makeup has been applied. But
tonight it hasn't come together. It doesn't work. She
holds a cigarette and the breeze keeps it glowing. This
is the only time we've seen her smoke.
RACHEL
Farmer... Nothing that's happened
between us matters... I understand
now... You're going to have to
believe me, because I'm not going
to beg.
She takes a long drag on her cigarette.
RACHEL
It wasn't what he said... it was
the way he said it... he was so...
Her voice cracks. She stops and tries to compose herself.
RACHEL
I need you... I'm afraid... and I
hate it. I hate my fear...
(a beat)
Please protect me... Protect
Fletcher... If anything happened
to him...
Frank looks at her. Tears are destroying her elaborate
stage makeup. She wipes them away with her hand.
FRANK
I can't protect you like this.
It's impossible. The odds are on
his side.
RACHEL
I'll do whatever you say.
This is the first time Frank has ever heard Rachel say
that. He studies her, then looks out at the ocean.
FRANK
I want to take you away for
a while.
Rachel nods.
FRANK
Somewhere people don't know about.
She nods again, agreeing.
97.
FRANK
No Spector or Devaney or Tony.
He looks at her, reading her face for any hesitation.
There is none.
FRANK
If you cross me up this time, I'll
kill you myself.
Rachel smiles, weakly but with obvious relief.
148 EXT. HERB FARMER'S HOUSE (BEND, OREGON) - LAKE SIDE - 148
DAY
A large, old, two-story house sits at the top of a slight
rise, surrounded on three sides by thick, rolling woods.
Sloping gently down from the house to the lake fifty yards
away is a broad expanse of lawn. Snow lies on the ground
and in the trees. At the edge of the lake, a dock and
boathouse. An entrance road cuts out of the trees.
A little TERRIER skitters to the edge of the drive
BARKING.
A van emerges from the trees, tires CRUNCHING through the
snow.
Frank's father, HERB, steps onto the front porch. He's
in his mid-60's, lean, tan and fit. He's wearing a plaid
shirt, jeans and cowboy boots.
The van stops in front of the house. Frank steps out
from the driver's seat and eyes his dad.
FRANK
Lake's a little low.
HERB
Fill up soon enough when she thaws.
(glancing at the van)
They all in trouble?
FRANK
Just one.
149 INT. LIVING ROOM - DAY 149
Herb squats on the floor with Fletcher. Together, they
are happily playing around with the fluffy terrier.
Fletcher squeals with delight as the dog licks his face.
Henry brings the remaining luggage through. Rachel and
Nicki stand with Frank near the archway. All eyes are on
98.
Fletcher, Herb and the dog. Rachel eyes the dog
skeptically.
RACHEL
That's going to protect us?
FRANK
He's a trained noisemaker.
RACHEL
Terrific.
FRANK
I don't like big dogs. They don't
know who they're eating.
150 INT. KITCHEN - LATE AFTERNOON 150
Herb stands beside a butcher block, cutting vegetables
for the evening meal with a practiced hand. Rachel
watches, drink in hand, looking around the kitchen. It
has been neatly organized.
HERB
Katherine had this place organized
just the way she wanted it.
(seeing her
questioning look)
Frank's momma.
There's the COUGH and SPUTTER of an outboard MOTOR from
outside. Rachel looks from the kitchen window and sees
Fletcher and Frank in the small skiff by the dock.
Fletcher tugs again on the starter cord. At the third
tug he tumbles backwards onto the seat.
RACHEL
Fletcher doesn't swim well.
HERB
I guess he'd better stay in the
boat then.
(his smile puts
her at ease)
Frank tells me you're a singer.
RACHEL
That's right.
HERB
I'm afraid we're a little out of
touch here. I'm sorry.
Rachel waves this off.
99.
HERB
You must be very successful to
need Frank.
Rachel smiles and looks out of the window.
RACHEL
It's so quiet here.
HERB
Frank came back and stayed six
months after the Reagan thing.
Rachel's questioning look encourages Herb.
HERB
Frank wasn't there the day he was
shot. He never got over that.
(a long pause)
We buried Katherine that day.
Rachel looks out again at Frank and Fletcher in the boat.
151 EXT. ON LAKE - SUNSET 151
Fletcher, Rachel and Frank are chugging across the golden
water in the skiff. Fletcher sits at the back, operating
the outboard, controlling the movements of the boat. He
wears a life vest. Rachel watches him proudly. Fletcher
locks the throttle into place and takes his hands off it
for a laughing moment with a "Look, Mom, no hands"
gesture.
Rachel looks to Frank and smiles, the wind blowing her
hair.
WIDE ON LAKE - DUSK
CAMERA is DOWN at water level by the lake's edge. In the
distance, the small boat skims across the surface. A
light mist is coming up.
152 EXT. BOATHOUSE - DUSK 152
Henry helps Fletcher tie up the boat for the night. It
is much foggier now and almost dark.
FRANK
I don't want anyone going out in
it until you've checked it over
first. Okay? Every time.
Henry nods.
100.
HENRY
Every time.
FRANK
Every time.
In the distance, Rachel and Fletcher have just reached
the house where Nicki scoops up Fletcher and spins him
round and round in a circle. She hugs him close and
kisses his hair. After a few moments, Fletcher squirms
free and runs to catch up with Rachel.
153 INT. HALLWAY - LATER 153
Rachel, munching on a raw carrot, browses a row of family
photographs. The sounds of dinner being prepared come
from the kitchen.
We see the history of the family in the pictures; Frank
as a ten-year-old baseball player with a younger Herb;
Herb as Police Chief of Bend, Oregon, being given a civic
award; Frank as a college football wide receiver; Herb
and Katherine Farmer, all dressed up and being introduced
to Jimmy Carter by Frank; the picture-perfect family home
in Oregon with Katherine tending flowers.
Rachel notices a photo of a smiling Henry Kissinger,
talking to some female reporters. There standing
shoulder-to-shoulder with him, are Frank and Portman.
Portman's also smiling at the women, flirting. Frank is
in a familiar pose, alert, unsmiling, vigilant. Rachel
looks at the two of them for a second.
Frank steps from the kitchen with an orange juice and a
drink for Rachel in his hand. He watches her for a
moment as she studies the photo.
She turns and sees him. They lock eyes for several
seconds. She smiles as he hands her the drink.
FRANK
(inclining his head
toward the photo)
Portman sometimes had trouble
remembering what his job was.
Supper's ready.
We can see from Rachel's face that she feels embarrassed
about her behavior in Miami.
154 INT. DINING ROOM - LATER THAT NIGHT 154
The meal has been enthusiastically consumed. Fletcher's
manhandling a chicken leg, his face covered with crumbs
and drippings. Rachel shakes her head, laughing.
101.
HERB
... And I never hit him. Ever.
To this day.
(to Frank)
That's true, isn't it?
(to Rachel)
That's very unusual for my people.
So what happens? When he's ten
years old, he complains about it?
Can you believe that?
FRANK
Oh, for Chrissake! I'm going to
tell her about the time you
stripped in court.
Frank gets up smiling and takes some dishes into the kitchen.
HERB
(to Frank)
I don't care. I'm proud of that.
(to Rachel)
Anyway, he's ten years old and
he's just started playing tackle
football. He comes to me and
tells me he's afraid of getting
hit, right? And he thinks it's
because I never hit him. 'Why don't
you ever hit me?' he says to me!
155 INT. KITCHEN - NIGHT 155
Frank puts down the dishes in the darkened kitchen.
FRANK
(back over his
shoulder)
If you're lucky, maybe he'll
tell you about my first jockstrap.
As he speaks, he peers out through the window at the
lake. We hear Herb's voice continue from the other room.
HERB (O.S.)
He got over it: Turned into a
helluva wide receiver. He
couldn't stand being afraid. When
he found something that scared
him, he'd just do it 'til the fear
went away.
156 INT. DINING ROOM - NIGHT 156
102.
HERB
His mother was the same way.
Rachel smiles at him, thinking, then looks through at
Frank in the kitchen, still peering out of the windows.
Nicki watches Rachel.
157 INT. LIVING ROOM - LATER 157
Herb delicately lifts a chessboard from the top of a
cabinet and walks it over to the table: A half-finished
game. He leans over and blows on the pieces -- sending
a small cloud of dust into the air.
HERB
Come on, son, you can run but you
can't hide.
Herb pulls up a chair and smiles as Frank appears from
the kitchen, a bowl of popcorn in his hand. Frank takes
a place across from his dad by the fire. The others
gather round.
HERB
Your move.
Frank studies the board. Rachel lowers her head into a
cupped hand, fascinated.
RACHEL
How long has this game been going
on?
Frank picks up a knight, thinks, sets it back down.
FRANK
Three years.
Nicki takes the bowl of popcorn and squats down with it
beside Fletcher. Fletcher peers intently at the board
as he chews on a handful.
HERB
He had me on the run there that
first year.
Frank picks up his rook, scratches his forehead with it.
He turns to Fletcher.
FRANK
What do you think?
Fletcher finishes a mouthful of popcorn, wipes his mouth.
FLETCHER
Knight to king-four.
103.
Frank, Herbert and Rachel turn in synch and stare at the
boy.
FRANK
City kid.
Herb pats his leg, gesturing to Fletcher to take a place
on his lap.
HERB
Come over here, Fletcher, sit by
me.
Fletcher goes over and joins him.
RACHEL
Well, that's it for me, I'm
going to bed.
She rises. Frank follows her up the stairs. Nicki
watches them go.
158 INT. UPSTAIRS HALL - NIGHT 158
Frank stops at the end of the hallway, checking the lock
on the window, the little terrier is at his heels.
Rachel pauses outside the door. Frank gestures for the
dog to stay. The dog sits in the middle of the hallway
looking from one to the other. For a few seconds neither
speaks.
Frank smiles.
FRANK
Good night, Rachel.
Rachel accepts this. She smiles in return and touches
him on the arm, very tenderly.
RACHEL
Good night, Frank.
Rachel turns, goes to her room and closes the door.
159 EXT. FARMER HOUSE - NIGHT 159
Details are barely distinguishable in the fog. We hear
the gentle LAPPING of the LAKEWATER against the dock.
160 INT. LIVING ROOM - NIGHT 160
Fletcher is asleep, snuggled on Herb's lap by the fire.
Herb is also asleep. Frank fetches a blanket and gently
104.
covers them both. He puts out the light.
161 INT. ENTRANCE HALL - NIGHT 161
Frank steps quietly into the hall. Nicki is standing
in the shadows. She watches as Frank goes through the
ritual of locking the front door, several ways.
NICKI
(softly)
You're very thorough.
VARIOUS SHOTS - AROUND INTERIOR
Frank makes a circuit through the rooms of the first
floor, checking windows and doors. Nicki tags along.
NICKI
What's happening between you
and Rachel?
Frank glances at her.
NICKI
Come on. One minute she's got
magnetic hands, the next she hates
you. I can't figure out what it
is now.
FRANK
You follow all her moves this
closely?
NICKI
(smiling)
It's a living.
FRANK
No, it isn't.
He moves away into the next room. She hesitates a
moment, then follows.
NICKI
You think my life is pretty
sickly, don't you?
FRANK
No.
NICKI
You must. I do.
Frank steps into a tight, dark, little window alcove,
checks the windows.
105.
FRANK
Why don't you change it?
NICKI
Is it that easy?
Frank turns from the window to find Nicki blocking his exit.
She moves close to him and kisses him, her hands on his
shoulders. The kiss ends and they look at each other.
FRANK
You're a lovely woman.
NICKI
But you don't want me.
Frank's look affirms it. Nicki is embarrassed, angry.
NICKI
I'm surprised. Thorough fellow
like you. Why stop at one sister
when you can fuck them both?
FRANK
I make my mistakes.
NICKI
But you didn't say no to the boss.
She starts to turn away from him, but his hands are on her
now, holding her close, refusing to let her turn away.
Their faces are very close. It is tight and near here.
FRANK
(with force)
No, don't go away, Nicki. Don't
leave me with that. Tell me about
it. Tell me how long you've been
second. Tell me how she has a
child and you don't. Tell me
something. But don't turn away
and try to stick it on me.
Nicki twists in his grip. He holds her tight.
NICKI
I don't need this from you.
FRANK
Maybe I need it. I'm fed up with
people telling me they have no
control over their lives. If you
hate your life so much, turn it
around.
106.
NICKI
It's not so simple.
FRANK
Yes it is. You can walk out that
fucking door anytime you want.
I'll unlock it for you.
Nicki looks up into his face. Tears start in her eyes.
NICKI
Let me go.
He releases her, looks at her.
FRANK
Okay. It's not my business.
He moves away, OUT OF FRAME. We HOLD ON Nicki, a long
time.
162 EXT. LAKE - DAY 162
Bright sun. Frank and his father walk along the lake
shoreline, stooping here and there to finger animal
prints in the snow and mud.
FRANK
Raccoon... deer...?
Herb nods.
Their attention is drawn to soft singing up by the house.
162A EXT. PORCH - DAY 162A
Nicki absently sings an old gospel tune as she tosses
breakfast scraps to a group of hungry ducks gathered by
the porch.
162B EXT. LAKE - DAY 162B
HERB
I've never heard church music in
the middle of the week before.
162C EXT. PORCH - DAY 162C
Nicki's soft voice is joined by Rachel's strong harmony,
and the two men watch as Rachel comes out to join her
sister on the porch, startling Nicki. Both sing for a
moment, together. Then Nicki stops, embarrassed. Rachel
gives her a hug.
107.
162D EXT. LAKE - DAY 162D
Herb and Frank are about to return to the house. They
stop short. There, at their feet, is a line of human
foot prints, from heavy snow boots, leading away into
the trees. Frank looks at Herb, suddenly alert.
FRANK
Where's Fletcher?
Henry appears at the porch of the house, carrying a
fishing rod as he comes out. At that instant, the sound
of the OUTBOARD MOTOR CRACKLES through the air. Frank's
head snaps toward the boathouse. Henry, in the distance,
looks quickly at the boathouse, then to Frank.
HENRY
(shouting)
Frank! I haven't...
But Frank is already moving, leaping from the porch
and starting to run flat out toward the boathouse
and dock.
Rachel turns to look.
The skiff appears out of the boathouse, Fletcher at the
motor, the boat's lone occupant. The boat moves slowly
away from the boathouse, parallel to the dock.
Frank is running toward the water with everything he's
got, his face contorted. The sound of the OUTBOARD
drowns out his voice as he yells.
FRANK
Fletcher! Fletcher!
IN BOAT
Fletcher, intent on his piloting, neither hears nor sees
Frank running down the lawn behind him. The boat is
approaching the end of the dock.
DOCK
Frank finally makes it to the dock and continues to
sprint after the boat. His weight rattles the boards
as he runs.
IN BOAT
Fletcher passes the end of the dock and gives the
throttle a little twist.
DOCK
108.
Frank reaches the end of the dock at a full run and dives
directly at the rear of the moving boat. Frank's body
flies out over the boat. He knocks Fletcher out of his
seat and into the water on the other side of the skiff.
RACHEL
(screams)
No! He can't swim!
IN WATER
Frank holds the terrified, shaking Fletcher in his arms.
Fletcher begins to cry. Frank paddles with him toward
the dock. The empty boat swerves, then continues out
toward the center of the lake.
DOCK
Henry and Rachel are already at the end of the dock. Nicki
and Herb are running toward it. Rachel is livid, hysterical.
Henry peers out at the boat, which continues to bounce
innocently across the water, defining a broad curve.
RACHEL
Fletcher, baby. Are you all
right? Baby.
Fletcher, spluttering, is handed up to Rachel by Frank.
Rachel hugs Fletcher to her. Herb bends down to check
he's breathing properly, wrapping the boy in his jacket.
HERB
He's all right.
Henry helps Frank up out of the water. Frank sits on
the end of the dock, breathing hard.
RACHEL
What are you doing? You out of
your mind? You're crazy!
(to Fletcher)
You're all right, baby.
(back to Frank)
You could have drowned him!
Frank and Henry look out toward the boat which has come
to a stop out in the middle of the lake.
FRANK
I'm sorry. I got careless.
Henry looks at Frank. He feels terrible about not
checking the boat.
HENRY
Frank, I'm sorry. I should have...
109.
HERB
It's okay, Henry.
Herb puts his hand on Fletcher's head.
HERB
You all right now, son?
Fletcher nods, his crying ends raggedly. Frank begins
to stand up.
HENRY
How do we get the boat back?
Out in the center of the lake, the BOAT BLOWS UP. Everyone
on the dock jumps.
Nicki screams.
Frank sits down again. He shakes his head. On an
impulse, he stretches out his hand, palm downward. It's
trembling slightly.
162E INT. BEDROOM - DAY 162E
Rachel and Nicki hurriedly pack their bags. Fletcher
hovers nearby.
162F EXT. SHED/GARAGE - DAY
162F
Frank slides out from under the van. The hood is up.
Henry stands nearby. Frank goes to the driver's seat.
FRANK
(to Henry)
Back off.
Henry moves away from the van. Frank inserts the key in
the ignition.
162G EXT. PORCH - DAY 162G
Herb comes out of the house, fast. His eyes scan the
woods as he heads towards the shed.
HERB
Frank!
Henry turns and motions to Herb to stay away.
162H INT. VAN - DAY 162H
110.
Frank takes a moment, then turns the key. Nothing. The
van is dead.
162-I EXT. LAWN - DAY 162-I
Henry and Herb watch. Frank gets out of the van. He
walks to Herb.
HERB
Someone's cut the phone lines. It
could be anywhere between here and
town.
FRANK
Both the cars are dead. And I
can't see how it was done.
Frank and Herb exchange a look.
FRANK
Who could know we're here? This
place has nothing to do with her.
HERB
Maybe it has to do with you.
Frank looks at him.
HERB
We can't walk out of here at
night with them.
Frank shakes his head.
FRANK
We'll button down tonight and
walk out at first light.
162J EXT. FARMER HOUSE - NIGHT 162J
There is a light ground-mist. The moon shines down
down brightly but the house is totally dark.
162K INT. HOUSE - MONTAGE - NIGHT 162K
The terrier dog listens in the upstairs hallway. Herb
watches from an upstairs window. Rachel lies in bed,
clutching Fletcher tightly.
164 INT. LIVING ROOM - MIDDLE OF NIGHT 164
Frank has been sitting in a chair in the center of the
living room for two hours. Listening. Now we listen
111.
with him. At first it seems silent, but slowly we become
aware of a subtle symphony of sounds. An old house surrounded
by WOODS. There are lots of NOISES. But they
are regular, innocent.
Frank is aware of a new noise, a gentle sobbing coming
from nearby. He picks up his gun from the table beside
him and goes into the kitchen.
166 INT. KITCHEN - NIGHT 166
Nicki is sitting with her head in her hands at the kitchen
table, sobbing. There's a nearly empty bottle beside
her. Frank is instantly on the alert but makes no sign.

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